UBC Theses and Dissertations

UBC Theses Logo

UBC Theses and Dissertations

Geometry of a gesture Porkolab, Gyorgy Arpad 1972-12-31

You don't seem to have a PDF reader installed, try download the pdf

Item Metadata


831-UBC_1972_A8 P67.pdf [ 2.34MB ]
JSON: 831-1.0101892.json
JSON-LD: 831-1.0101892-ld.json
RDF/XML (Pretty): 831-1.0101892-rdf.xml
RDF/JSON: 831-1.0101892-rdf.json
Turtle: 831-1.0101892-turtle.txt
N-Triples: 831-1.0101892-rdf-ntriples.txt
Original Record: 831-1.0101892-source.json
Full Text

Full Text

GEOMETRY OF A GESTURE by GYORGY ARPAD PORKOLAB B.A., University of British Columbia, 1970 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER; OF ARTS in the; Department of Creative; Writing We accept this thesis as conforming to the required! standard, THE UNIVERSITY OF BRITISH COLUMBIA April, 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Gyb'rgy A. Porkolab Department of Creative Writing The University of British Columbia Vancouver 8, Canada Date April 4, 1972 Dedicated. ray parents, Piroska &. Tivadar Porkolab who never lost faith in themselves iii ABSTRACT Nothing new will be said: here. What is important is that I am saying it. Everything we know we know through our senses, hence the nature of knowledge is sensual. When I think I think with my entire body, there is no dichotomy between 'body' and 'mind'. My writing, as all art, is an affirmation of this integrity of consciousness;, I perform no castrations under the pretext of 'objectivity' or 'academics'. I recognize no border between external reality and; internal reality, it is all reality, such a border would be: artificial and an absurd misrepresentation. We are transmitters and; receivers, or transceivers. A thought is a microscopic biochemical reaction in the brain. When we transmit, that is, write or speak or gesture, our bodies act as step-up transformers raising the energy level of the original chemistry enormously to an output that creates the right disturbance; and turbulance in the environment to be apprehended, by a receiver, that is, someone listening or watching, who then acts as a step-down transformer by absorbing these amplified energy waves and reducing them to a biochemical reaction in the brain. If the transmitter has coded properly, that is, used language potently, then a xerox biochemical reaction should be caused in the receiver and hence communication takes; place. This is the process of writing and; all art. Their concern is the metamorphosis of energy. With language anything is possible. Its power lies in the phenomenon that by merely verbalizing a thought, whether it is an abstraction or a blueprint for action, irrelevant of its truth or lie, the mere utterance is enough to crystallize an existing concrete reality. If man is a disease, then I am concerned with the diagnosis of the disease. I know there is no cure. The laboratory is life, the experiment is myself. I write out of love and hate. In what I have said and what I will say what is important is what I have not said. ese fragments are focal planes, lines cast into the ocean. refuse all compromises. George McWhirter / Thesis Supervisor TABLE OF C0NTENT5 GEOMETRY OF A GESTURE, Poetry (Titlepage for section) .. 1 "Do not trust me." 2 FEEDBACK 3 THE PARTY 4 THERMOLAYER 8 THE STUMP 9 A PAID POLITICAL ANNOUNCEMENT 10 BETWEEN MOMENTS 11 DIFFUSION 2 PARA5ITE 3 THE MEETING 14 LEGACY OF THE POST-WAR CELEBRATIONS 15 THE KEEPER 6 NIGHTFALL RENDEZVOUS 17 SPACES 18 WAITING 9 GEOMETRY OF A GESTURE 20 LOVE POEM 21 A PURE PAUSE 3 SCRAMBLE 4 A CHORD OF BLACK N0TE5 25 WILDFIRE '. 26 OPTICS 27 TIMELAP5E 8 THE APARTMENT 29 "Suicide is the ultimate act of intelligence," .... 30 GLASS VEINS 31 vii AFTERTASTE 32 "we enter each other softly" 33 "knowledge is not enough" 4 FREEDOM 5 TRACES 38 "I CAN'T SWIM IN THE SKY" 39 NEBULA 40 OVERTONES 1 CLOSED CIRCUIT 42 WITH ALL MY NUCLEAR POWERED MECHANICAL HEART etc. . 43 WHAT THING5 ARE FOR 5 PASSAGE 6 REMEMBERING MY5ELF 47 "these insects will swarm" 48 PQETIC.5 49 YOUR ENTIRE BODY IS SMILING AT ME §0 BETWEEN MOMENTS, Filmscript 51 EVANESCENT DENIZENS OF THE ASTRONOMIC GASTRONOMY, Play . 68 1 GEOMETRY OF A GESTURE Poetry 2 Do not trust me. A man who has denied a woman can deny anything. > 3 FEEDBACK Who loves you As much as you do? All languages axe one. Foreign. Meaning is the tone of my voice. Everything that is, is by definition. I desire to undefine. All mirrors distort. The alone Somewhere within my expanding limits: In some noiseless night I slipped out of all categories. IMOWJ, in glacial forests, The depth crazed search For the mermaid. 4 THE PARTY Through these aquarium rooms in the undercurrents of music without instruments like an animal on the turbulent breaths of smoke above phosphorescent runways I glide in the hot vacuum of her tacking body bank in the flak of glances and flash a professional smile rhythmically. I feed on my own raw adrenalin the idea of fish spawns I remember nothing of surfaces among these constantly shifting channels of flesh and; in a sudden downdraught crash into her hot belly an altar floating on talk. Seconds later she dissolves in my mouth like a wordi. Among scattered; beacons her believers in confessional twilight gnaw carcasses and wait. 5 The range is three meters. I calculate approaching her at the ambassadorial, consular or representative level or not approaching at all. Alternatively, a policy statement. "I am not about to die and I do not apologize for the inconvenience," She evaluates, ovulates. With a mona lisa smile as a passport my eyes slide down her neck her breasts shift weight a bra strap stays slack rodin hips the hemline hushed like a theatre curtain and my host ambushes me protocols all over me. I simulate myself in a pre-recorded ritual. A faded "what do you do?" " I am abroad;. I have been abroad so long that I have forgotten my mission and I wouldi still be abroad if I returned home. Meanwhile I gather intelligence." The men's eyes scream for territorial recognition. I am not a party to any treaties. A scratched, "where are you from?" "The border. A land of complete freedom." 6 Inexplicable guilt seeps into their masks rumors are forming in their bowels. Innuendos code their faces like cancer. Everyone hates specifically. I don't discriminate. With feigned rapt distraction I slip into the warm pacific rug and. rig for silent running. The women's fluorescent lips and. tropical bodies ease from cove to cove. In the mauve dusk we act out priestly lies a shaft of sunshine projects from her sex fog balloons in from the mirror the room snows on the perimeter the scavangers we lie in the supersonic silence of winter with no desire for anything her body where it touches mine we are numb our genitals wet we fall an eternity remembering how we breathed in but not out the green air of the night my nerves flow with schools of silver fish along wet pavements in streets of shadows without origin. "We don't want you but we need you." The messenger burps and farts his way into oblivion urjder the bed forgetting to give me the map. 7 The cave instinct keeps us together will our bones be decipherable. I prowl through the derelict sleepers rustedi landmines of a war described in time capsules forgotten by their own selves. At this moment everything is legal for me amid the clandestine decay of flesh and things impotently legal. Fly face naked I cross the neutral threshold of the door and walk shivering into dawn 20,000 years too late in the wake of the glacier 5 billion years too early for the sun's super nova, I need some chlorophyll to recharge my blood I need some water to dilute myself I need a rock to pound my head against to reach its unconsciousness again I approach the ocean with a speech the flesh crawls about my skull a word scrapes along my teeth its yoke rips slithers lungwards dribbles from my lips I mutter politely and dive. 8 THERMDLAYER I shall go tonight. Before the perfect mold of the statue embraces the twilight I must be gone. Let the perfection crumble by itself in the used air. I will not satisfy by being witness. I have been gathering for days. From streets, from rooms, from bowels, from mouths. Now I am all here and you know because I am sticky on your fingered faces. The sun warms into the sea. Soon ... with my mind in crevices my tongue shall upon the snow body of the Himalayas. 9 THE STUMP That Saturday I left both my legs under the 4:30 express to Berlin. My hands were hanging on but someone slammed the door. The security precaution for the Munchen conference required the extraction of my gonads by the roots. In Moskva time was short: burning cigarettes probed my eyes, ears and nose. My tongue flaps in neat razor cut strips and my translator sometimes has to fake it. I have total diplomatic objectivity. War is surrealistic existentialism at its religious orgasm. I want to rape little girls. A PAID POLITICAL ANNOUNCEMENT I telephoned myself, There was a busy signal, I wondered, who it was and hung up. I sent myself a telegram But when it was delivered I couldn't find any I.D. And it was returned to the sender. I put a note on my door Stating I would be back in a few minutes, When I returned I saw the note and sat down to wait. After a few days I reported myself missing To the police and told them I would check back. Meanwhile I've invited all the pine trees To come down from the forests and power saw Straight-limbed fifteen-year-old girls for Christmas. BETWEEN MOMENTS The cue fires, A white sphere sails on course Across the felt-green sea, Its spin tense toward quiet collision With the naked, red. satellite. Neon spotlights paint shadow life. A rat strolls by reciting myths. I answer in mathematics. The war begins. Hear death among a busload of old women: The cool broads in the not ads Wait for instant replays of assassinations. I piss on lamposts with the dogs. 12 DIFFUSION Sine wave jazz of people of things A memory tastes found: Your hot breath In the midnight air of a frozen beach. Your winter silence falls softly about me. In the rain of city streets I roam with your absence To places you've never been, And now you don't exist there, too. PARASITE The eye of the hurricane Focuses Beyond the pregnant wall On the rage In an echoless path. My generations feed On your inside out. THE MEETING As if by strokes of a brush on canvas I have grown old. I sit here in the noisy cafe, Traffic lights change And people stop. Everything around me is rehearsal. The people move again, A glimpse of a stranger Vaguely familiar. Are you dead centuries ago Continents away, Or not yet born. The wine is deep red, In a few hours, a new city. LEGACY OF THE POST-WAR CELEBRATIONS The roar gulps With every shift of my hand. At the edges of sight: light trails And the nervous response of needles. Under the storm cleared sky Highbeam exposure of film space, The radio plays Bach. Port-of-call, The swamp glare of hot lights above Mouths sponged by pot and scotch. One word breeds hordes That raid the amplified beat. The original bra: my two hands. Shall I finger you now or later? After words you can cry, But now barf gently. We streak through some world In our private weather. Your worn body sleeps away the revs. THE KEEPER He places the eyeball in hair To avoid damage. This requires cross-indexing. He notes - red hair/fine ... eyeball/light blue. The lift carries him down Past levels of body parts, The refrigeration makes him shiver. He images - a lip, a finger, a_ The lift stops at his quarters. He walks to the file and adds the note. He thinks - ,1 am the 6th Keeper. Thirty levels of frozen corridors above him below the sea. He checks the shute for new arrivals. He thinks - the choice of a, means to another choice For the assembly of the one who is not. 17 NIGHTFALL RENDEZ-VQUS Autumn shower gone The air is after-sex. In the late afternoon Of sharp shadows and silence The street settles under Wet dust and October. A foreign evening breeze Plays intimate With people in a drift Under city skies. The cool heat of the mute crowd. Listen ... To radio signals from the stars To hysterical laughter of egg and sperm As they drown in air. The lovers walk through Fluorescent corridors Of IBM memory banks. Their DNA codes fuse In mathematical probabilities. On the live screen Images of the unborn. SPACES the fifteen translatable languages of your smile pastel winds swirl from your lips and teeth primeval heat of your glacial scent the weight of your body like the taste of fresh water your eyes' blue sponge breathes around the two black my Berlin life you always feel like the polar lights 19 WAITING With a metal taste in my mouth and the sound of screaming subways stainless steel fish hooks on transparent lines claw into my naked brain, paralyzed fingers screech along the ice, in the receding train window a face with a gassed grin: lately I sleep with open eyes. GEOMETRY OF A GESTURE Below my skin night always. The city a galaxy on the border between the ocean and mountains. Your tears tense in this female dark. Inevitable abandonment to event and the final knowledge: I am the only instrument. A woman is good aenesthetic against the stars I reach for your hand. LOVE POEM The riptides of the sun and your fing wind along my spine my mouth in elastic collision with your mouth my face on your hot belly I touch you so long I can no longer map where I end and you begin your deep-sea logic metronome heart beats of an artesian time, only shape understands shape. Irretriveable each time we speak, your laughter a mossy resonance between your breasts, silence is something supersonic in the violet marrow of night or between your teeth. Between myself and everything image of everything. Sheer light. You in isolated focus. I need you because you see my face as I never can. The loud hunger of the waves, being mostly water I piss reverently and do not grasp why I am afraid of drowning. Blood and ocean taste like each other. Sperm smells like a beach. I like you. 23 A PURE PAUSE Your breasts each two and a half mouthfuls, your tongue dripping spray and the smile of an arctic wolf, you slipped through the border - man law in the wilderness -and padded, in with surgical certainty. In the instinctive dark we orbited each other, your tidal heat and the animal perfume of your sex a spiral attack, the murmur of spring decay around an empty highway. Above the high tension wires, below the ozone glare of iodine arcs, we worked without nets or cages committed atrocities of truth and exchanged apologies, a futile design for retrieving time, a point of diplomacy, after the weather the rainbow in the fjords of silence. Both of us possibilities, neither dared to invent the other, each fiercely proud of the other. 24 SCRAMBLE it was already too late the firealarm too far away as her arm came ramming through my anus right past her elbow and the air-raid sirens too romantic as that blind groping hand grabbed something somewhere and i barely having time to clutch at the ripcord! as a deft flick of her wrist snapped me inside out A CHORD OF BLACK NOTES No more food I digest myself now. All this pressure on the surface. Her cognac tears and the orange peel of her sex. WILDFIRE She steps out into the sunbeam glare of the arcs, beyond their flaring coronas the unseen audience hums and her lips touch the cool mirrored surface of the microphone. A low thunder of feedback recedes along acoustic paths bouncing among the hot waiting meat that is the audience. Her amplified smile breathes into the space between a caged animal and the bars, into the moist creases of skinj tight black breasts, fluid oriental hips and gleaming white teeth. She breathes in a moment longer than expected and superimposes her rhythm, superoxygenates her blood and exhales the used air from inside her body as if tossing a pair of soiled panties to the audience and again her lungs fill and expand against her ribcage lifting her breasts tuning the unseen audience watching with cocked eyes and again she breathes out her used air. The pressure along the blood vessels drops and cool, recycled blood rushes through the veins and again. And again she sucks in the conditioned air, hyperventilates, floods her erect nipples with fresh oxygen and at peak intake opens her mouth and; her cunt sings . . . the voice a primeval scream hurling through the dark coaxial consciousness of her vagina whose reptilian muscles thinking, vomit the molten vacuum voice out her vulva, the voice bouncing among the hot waiting meat that is the audience ... After the concert she steps into the neon bathroom, her nakedness reverberates in the mirrors and colors the chrome flesh. Her finger touches the switch and a red light glows live and recording. The tape feeds through, two microphones hear the taps turn on. She smears herself with honey, steps into the tub of warm milk and drowns. •PTICS With the buoyancy of a floating compass the cat's eyeball on the glans of my erection rotates 360°, bobs to a stop again, blinks a long irrelevant moment and. resumes watching my face. One single cat eye to see in the dark, the slit pupil pulses constantly maintaining focus. Perhaps men in surface ships or women in bed feel this way when a periscope breaks water among moonlit waves. And like a man, who, strolling alone one night, fully sober and conscious, looks out into space and finds himself slowly falling away from the planet lunges toward the earth desperately grasping at the smell of green grass I embrace this woman. TIMELAPSE sharp x-ray night sky moonlit clouds sunlit moon the reflecting refracting lens systems of consciousness float in their gyroscopic mounts and in a moment of eclipse the vegetation feeds on elemental structures animals feed on vegetation i feed on the animal something feeds on me THE APARTMENT Even if the body has stopped pacing the cage space of the apartment the brain continues to pace insistent as bugs on a summer night vulnerable as spiders on white walls and ceilings, th the old lab rat running through for the n time with the stereotyped Freudian neurosis of monkeys and polar bears in the zoo looking for that moment of escape to once again slip through some border. Importing has failed, two trees and one bird have died, already in the apartment, only the cactuses survive now. My face has solidified into a wall, the touch of my skin is off-white, a girl's voice repeats with melancholy "you watch the world from behind Venetian blinds" and I shut my eyes. Suicide is the ultimate act of intelligence, intelligence the ultimate act of suicide, but finally, only acts, and now, for my next act ... GLASS VEINS the man treads water moves nowhere or assumes he moves nowhere since he has not arrived anywhere this problem is vague in his mind in the cave darkness he is mainly concerned with the mechanics and stylistics of treading water the man believes in his work he dares not stop to think instinctively understanding that if he does he will drown AFTERTASTE The shutter snaps and the scenery records the inside of the camera,, With each new woman new knowledge and new certainty about the uncertain. A sentence aborts in my throat. As if I have forgotten my lines, but this stage has no wings or proscenium. Aging is a matter of betrayals, life a matter of immunology, death the final antidote. We converse now purely for the sake of sound. The constant casting whirr of fishing lines the delay and inevitable embeding pain of invisible hooks in my skin waiting fox so many lines to snap taut. •ne single dBsire coming to cxitical mass, to make love in fxee-fall between earthxise and the naked sun to ejaculate into space. 33 we enter each other softly knowledge is mot enough woman is not enough work is not enough infinity is not enough nor these lines 35 FREEDOM I don't remember when I slit my stomach open and slipped the rock among my entrails but in your eyes. I s;ee that you have jumped and that I am the net, the rock slips loose somewhere in my depths. Let us betray each other as many times as we can and. fill history books with the decisions. You and I began five billion years ago in the core of a star at critical mass, you and I instruments , begun three billion years ago by something wanting to see itself, we are ready to reach in. 36 And you my foxy audience who come wearing your new lovers on your arms looking to see who the old ones are with, you who come to see and be seen in the right place on this bridge gazing up at the night and me, I have cultured your gestures in test tubes, weighed your smiles against your sneers, tested the acidity of your words, travelled behind the dark side of your faces among the searchlights of your fears and desperately fragile filaments of belief in the magicians manufacturing containers of histories for amnesiacs it is too high for birds I am alone with the wind the cold steel is wet under my hands I move stars and galaxies about the sky for my own son et lumiere in a single breath your ahhs arise death drifts loose somewhere below the skin of the water credit cards, passports, rituals fall away from me like cables from a ship at lift-off from the bridge suspended through night 37 there is nothing I can do for you there is nothing you can do for me I want to commit suicide but I also want the applause why does every woman wish to cram the entire world! into herself, why do I reach to make love; with every woman I meet does a rock know it's a rock does it care to say "no" for the first time is the most difficult the second time it is easier a word! slips loose in the darkness I slip loose in a word inside the wind inside me I breathe out the wind inside me in this fog I am the bridge who touches fewer and fewer of your shores TRACES My lungs in full wind the rush of the ocean in my veins and sirens in my ears the coded: gibberish of my nerves dismiss me peremptorily, we are fragments of a formula that constantly equals zero. "I CAN1T SWIM IN THE SKY" The lilac floor sinks under ray strolling weight with the absorbancy of wet spring grass growing out of young flesh, rain, in the sky of fast moving clouds a crack folds open a shaft of sunshine, the late afternoon starlight projects everything with depth of clear glacial water, my contours ebb from consciousness, vision drifts backwards in the black corridor of the viewfinder, each step is a mild Shockwave of an anticipated stair that is not there, all sound is absorbed in the brilliantly lit acoustic tunnels, all of me spirals in towards my center of gravity, whorls of gentle spasms through my groin, I collapse away from my perimeters like a parachute losing air 40 NEBULA all time is right now all. that is is pure motion and music you shrug your pouting bum I lift your lighter-than-air body we arch towards each other rainbow sails tense with wind falling on each other like violet rain in a star field sky our strange bellies ripple with the tide cloud muscles swirl in the breeze of wings we kiss sharing air carry each other moist in nerves hurling through tendril spines to ten watt brains perceiving through the four black holes of our eyes our 98.6° bodies make love in the waterfall of your hair and our forest smells we are made of the stars OVERTONES The sound of ocean in my voice is the dense rustle of fluorescent leaves inside my skull, - the spinal bridge in colloidal suspension and you ask why I change with the seasons and sway at your touch? CLOSED CIRCUIT The eyes blink a sixtieth of a second, in the darkroom of the brain's chemistry a negative is projected and the print fades in, frozen faces gaze at me with the expectant air of toilet bowls I watcti the woman watch another woman watch me watch myself with unblinking camera lens eyes 43 WITH ALL MY NUCLEAR POWERED MECHANICAL HEART I LOVE YOUR TEFLON® VAGINA We are born in antiseptic rooms awaited by. masked men andi women, we die in antiseptic rooms embarrassing the living, these journeys must be made naked without luggage or passports, the ports are busy with arrivals and departures in the concrete cancer hives, we are busy expanding the hive, torturing each other, infecting the planet, so many October Revolutions, Messiahs, Political isms, National isms, Racial isms, Philosophical isms, Religious isms, justifying everything, anything, we are all 5o Right, we eat dead animals and dead plants from porcelain plates we excrete into porcelain toilet bowls tres chic you Orientals with your insect society (only an Oriental can cauterize his emotions and be a programmed drone in the human wave) you Africans with your ritual crying (only a Black can feel The Blues and cry like a child in the night) you Russians with your Pavlovian behaviour (only a Russian could have conceived of ringing a bell to produce salivation without food) you Europeans with your Freudian psychoses (only a European can be incestuous, masturbate and claim the Divine Right of Leadership, Religious Vision, Morality, Civilization and Culture) cooked into the American Nightmare Apple Pie ('jus truckin alon, we've pissed on the moon, we can piss on you too*) in our soundproof (against the screams), airconditioned, deodorized bedrooms we oscillate fervently drunk on illusions at the 21 cm wavelength we are transmitting from our largest'antennas into deep space "we know what is happening to us we are celebrating very hard to forget" 45 up looking up girls are for looking up skirts are for looking up girls stairs are for looking up girls' skirts WHAT THINGS ARE FOR PASSAGE the planet turns away from toward the star the radar dish revolves white andi silent against the noiseless universe the ship purrs through its decks and railings I metabolize softly white froth breaks around the prow the wind froths against my face the ship's lights glide on smooth waters the radar dish revolves silently white against the noiseless universe white lifeboats hang on white cranes the wind spins off warm mountains in the night fjord a lighthouse flashes memories in the distance red lights mark the chanmel the wing-tip and belly lights of jets glide between the stars I metabolize softly the wind froths around my face I revolve whitely silent against the noiseless universe I metabolize softly REMEMBERING MYSELF I had all the childhood diseases including love, the doctor's diagnosis was immaculate, "he'll grow out of it", I also outgrew my clothes, my single purpose became to outgrow everything and. one day I died, just say, I outgrew life. these insects will swarm leaving this page empty POETICS the danger is realized too late I am irretriveably becoming what I write everyone loves me but no one can bear to live with me, perhaps I am an idea on the piano there are notes to be played between the keys I am my own country I am the state I have never been farther than wordis YOUR ENTIRE BODY 15 SMILING AT ME and if we had not made all our mistakes committed so many stupidities been so absurd in our separate lives you and I would never have met and that would be unforgiveable BETWEEN MOMENTS Filrnscript TWO CHARACTERS, A YOUNG MAN AND A YOUNG WOMAN. BOTH AR£ NAKED THROUGHOUT THE FILM. THE SOUND TRACK IS THE NATURAL LOCATION SOUND. 5L0WM0TI0N 1. Pan along backlit sculpt clouds in a lilac sky. She falls into frame, back toward the camera, as she falls past the lens she blocks the frame, cut to 2. her falling away faceup from the camera toward the glittering ocean. As she recedes cut to 3. a lilac sky. He falls into frame facedown toward the camera. As he falls past the lens he blocks the frame, cut to 4. him falling away back to the camera. As he recedes toward the glittering ocean cut to 5. her. falling away faceup from the camera toward the ocean, cut to 6. him falling facedown toward the camera out of the lilac sky, cut to T. her falling away faceup from the camera. As she recedes he falls into frame from behind the camera. As they recede cut to 8, the two of them falling out of the lilac sky, They fall toward the camera and as they block the frame cut to 9e the two falling, their hands reach and grasp, dissolve to 10. them drawing together, dissolve to 11. them embracing, falling out of a lilac sky„ REALTIME 12. Underwater shot toward the surface, shafts of sunlight shimmer, a shadow appears on the surface and grows rapidly, the entwined bodies drive into the water, as they stop sinking dissolve to SLQWMQTION 13. their faces. They speak and bubbles float out of their mouths, dissolve to 14. her spreadeagled on the seabed facing up, she begins to drift up, dissolve to 15. him spreadeagled floating over her, dissolve to 16. the two drifting together, dissolve to 17« and upangle shot of the two drifting toward the surface, REALTIME 18. The skin of the ocean undulates, an unexpectedly long time passes. Their heads break water, they are propelled out of the water like fish jumping and sinking back in. Out of breath breathing. Pullback as they swim toward the camera. They finally crawl onto the beach and! collapse against each other laughing. Cut to 19. them collapsing against each other laughing. The sand is very white. Cut to (rapid sequence) 20» throbbing vein in his throat, cut to 21. throbbing vein in her throat, cut to 22. her reflected in his eyes, cut to 23. him reflected in her eyes, cut to TIMELAPSE 24. their heads. Pullback and trace the perimeters of their bodies. Shadows flow in timelapse. Dissolve to REALTIME 25. his open eyes. He watches her as she sleeps, o suddenly her eyes snap open, there is a moment of non-recognition then she relaxes, pullback. He leans over her, cut to 26. a shot from behind them, they are in the foreground the sea in the background. He leans over her and blows lightly on her skin. Her eyes are staring at something in the distance, he arrives at her face and notices her stare, he turns to look in the direction she is looking, cut to 27. wide shot of the horizon with their heads in the foreground. A long time passes. There is a flash of a mirrored surface in the distance. They stand quickly their spines gliding past the lens, cut to 56 28. tiltup with their faces as they stand, they watch intently, cut to 29. wide shot of the scene of the flash, hold, TIMELAPSE to night. 30. Closeup pan of 'dead* IBM readout screens and. input terminals. His head comes into frame. He is looking at the hardware. He turns around and begins to walk away, as he does, pullback, it now becomes evident that he and the equipment are in the wilderness. As he continues to walk it becomes apparent that the location is a mountain top. He holds a transparent plastic tube in his handl which runs out of the frame. He stops at the edge of the mountain top. Cut to 31. a telephoto shot of his entire figure from the back. TIMELAP5E of sunrise in front of him. 32. Closeup of his face, pullback, he takes the plastic tube in his hand and inserts it in a vein inside his elbow, zoom in as the needle penetrates and the blood rushes into the tube, cut to 33. zip pan of the tube lying on the ground as the blood rushes through it. The tube enters the hardware, quick pullback to show the machine coming to life, the screens glow with blue skies. Cut to 341. him walking up to the equipment. He watches the screens. They are empty except for the blue skies. Cut to 35, him turning and walking away. The tube trails from his arm, the ground is criss-crossed with colored cables, pieces of raw meat are snuggled against the moss-covered rocks. Quick zoom to the nape of his neck and 36. quick zoom to the nape of his neck as he whirls around and 37* quick zoom to the nape of his neck as he whirls around, his eyes pulse focusing, slow pullback to reveal that this picture is on one of the screens, pullback continues until he comes into frame watching the screens watching him watching. 38. Closeup of her face in shadow, cut to 39. telephoto shot of her figure from the back, the first ray of the sun breaks over a mountain peak, the sea swirls around her feet, cut to TIMELAPSE 40. closeup of her face. As the sun rises her face is lit up. Cut to REALTIME 41. closeup of her face, pan down to her arms as she inserts the needle and the blood rushes into the plastic tube. She moves out of the frame, follow-focus reveals hardware at the edge of the forest, the complex suddenly lights up as the blood reaches it. Cut to 42. closeup of her spine assshe walks. Cut to 43. closeup of her face as she arrives at the screens, the lights reflect in her eyes, cut to 44. his face as it reflects the colors of the screens, pullback, he brings his arm into frame and pulls the tube out of the vein, blood backfires from the needle and vein. Cut to 45. wide shot of him and the equipment, the lights die out. Cut to 46. her arms as she pulls out the needle and the blood backfires, tilt up to her face, pan to the screens which show her face, the screens die . 47. Upangle shot from the waterline of a sailboat, her spine strains as she leans over the edge, the mast and sail strain and rise vertically into a clear sky, cut to 48. wide shot from the top of the mast shooting down at the two hanging over the edge as the; boat cuts through the water. They are tacking, they switch sides, she kills the sails, they kiss very lightly, barely touching, cut to 49. a medium shot of the two, only their lips are touching, between their bodies the ocean shimmers Suddenly he pulls away, his eyes have caught something, she turns to see. Cut to 50. wide shot of the beach where they had been, they are in the foreground on the boat, there is a mirrored glint in the trees, cut to 51. closeup of their faces. They are intent, the sails flap idley. 52. Night. The screens glow with abstractions. The plastic tube is full of blood;. She sits: beside a fire watching the screens. She turns her head for a moment, there are thousands of fine, multi-colored wires running into the base of her head. She takes a piece of meat that's been cooking over the fire and eats. Cut to 53. his head. There is a web of wires in the base of his skull also. Pullback. The tube in his arm is full of blood. Cut to 54. wide shot of the two at the fire. Pullback and lose their lights in the lights playing on the water. A lighthouse flashes in the distance, suddenly the outline of the sailboat in full sail bursts into flames in the night, hculd until completely dark again. 55. Morning. Wide shot of the entire beach, slow zoom to her figure lying on the sand, asleep. Dew covers her body and hair. The plastic tube and wires snake out of frame, dissolve to 56. closeup of her face, she opens her eyes and blinks, breathes deeper and deeper, abruptly her eyes are wide open and focused rigidly, she holds her breath, sjowly she sits up, unconsciously brushes the sand from her body, cut to 57. the small of her back, tilt up the spine to the base of her skull and the web of wires, dissolve to 58. her eyes, cut to 59. medium shot of her sitting, as she stands up, pullback, she still brushes absent-mindedly at the sand on herself. She watches the horizon intently, there is a mirrored flash, she jerks up, cut to (rapid, sequence) 60. closeup of her head as her ears tense, cut to 61 • closeup of her neck tensing, cut to 62. closeup of her chest drawing in, cut to 63. closeup of her stomach tightening, cut to 64. closeup of the tendons at the back of her knees tensing, cut to 65. closeup of her fac;e intent, zoom in to eyes, cut to 66. wide shot of the horizon again, hold, there is another flash, cut to 67. closeup of her eyes, cut to 68. closeup of the back of his head, there are no wires, pullback, she stands a long way down the beach, the camera moves around him, he wears mirro/red, sunglasses that reflect the scenery and flash the sun, zoom to glasses, cut to 69. closeup of her eyes trying to discern, cut to 70. wide shot with her head in the foreground, again there is a flash on the horizon, cut to 71< a medium shot of her as she hesitantly steps foreward, as if to go to the source of the flash, she is ambiguous, stops, cut to 72. closeup of his face and mirrojred! sunglasses, he lifts; a weapon with a scope to his eyes, cut to 73. scene through scope, she is subdividledi by the fluorescent filaments of the scope, TIMELAP5E zoom to her hand, sound of a shot, her hand jerks in response, cut to 74. closeup of her face as it reacts to the sharp projectile piercing her hand, SLQWMQTIOIM, her face in agony as^ she brings up the wounded hand! pouring blood, she is surprised, she sucks at it desperately, turns and begins to run, as she does the plastic tube and wires rip out of her, cut to 75. REALTIME, a full shot of him from the front, cut to 76. her running by the dying screens, she sucks; on her hand, cut to 77, her point of view running straight down the beach, cut to 78, closeup of her face, she veers into the forest, cut to 79, wide shot of her running through the lattice of branches, she is still running, sound of another shot, she whirsl on impact, collapses;, zoom to her face sobbing, pullback, she clutches her legs, her right thigh is pouring blood, she childishly tries to wipe the blood away, she spits on the wound, grips at it, zoom to her face not comprehending, disconcerted, she brings up a hand to wipe away the tears but as she does she wipes blood, all over her face, she stands and immediately collapses, she stands again and begins to hobble, cut to 80, closeup of her face in state of shock, the muscles are in convulsions, her breathing is eratic, she hums a tune, tears mix with the blood, her eyes grasp at everything searching, she brings up her wounded: hand and absently brushes at her hair, she is shaking violently, cut to 81, medium shot as she crumbles against a moss covered rock, her lips touch the moss and her hands grasp at the rock, slow zoom, sound of thunder, her head snaps up alert, she stands up and begins to walk, cut to 82. she stands, both legs tremble uncontrolably, the wounds still bleed, she staggjsrs exhausted, cut to 83. closeup of her face, she sinks to the ground and the camera goes with her, her face is close to a stream, cut to 84. her drinking from the stream, her head comes up out of the water, water drips from her eyes, lips, teeth, a quiet smile appears on her face, her head tilts back and rests on her spine, her throat is fully exposed, she breathes deeply savoring each breath, hold, cut to 85. her point of view, wide shot of the sky through the branches, the trees wave and rustle in the breeze, cut to 86.. medium shot of her, relaxed, breathing deeply, shivering, sound of a rifle shot, she arches foreward! from the impact in the small of her back, there is a surprised look on her face as the bullet tears through her, blood spurts out her nostrils and mouth, her guts rip open as the bullet exits, dissolve to SLQWMQTIDN, INFRA-RED FILM 87. she falls foreward, twisting, dissolve to 88, her point of view, wide shot of trees and sky turning into unexpected colors, pulsing to darkness, the water of the stream comes up, a burst of normal film, then black, REALTIME, NORMAL FILM 89. Medium shot of her lying on the ground, blood dribbles out of her guts, mouth, nose, ears, she breathes quickly and shallowly, her eyes stare straight ahead, cut to 90, closeup of her face, hot bubbles of blood seep from her mouth and nose, she coughs gently and chokes on the blood, cut to 91• closeup of his face leaning over her, she is reflected in his mirrored sunglasses, he watches, cut to 92, closeup of her face as she exhales blood, stops breathing, cut to 93, the two of them as reflected in a mirror, (the audience viewer is not aware of the mirror)he bends down and kisses her lightly, the mirror shatters, quick pullback to bring him into frame as he whirls, his mirrored; glasses reflect her standing watching him, he has blood on his lips, she also wears mirrored glasses, cut to 94. his point of view, she stands facing him, she holds a weapon in her hand, cut to 95. closeup of her face, he is reflected in her glasses, cut to 96. closeup of his face;^she is reflected in his glasses, cut to 97. wide shot of the two, she lifts the weapon and fires a flare into his stomach, he smashes back under the impact, cut to 5L0WM0TI0N 98. full shot of him as he drifts back under the impact, the flare burns with a bright orange light, there is smoke from his charred meat, tears form in his eyes, he looks down in amazement then looks up uncomprehending, cut to, REALTIME. 99. closeup of her face as the scene reflects in her glasses, it begins to rain, cut to 67 100, the beach, it is raining, slow pan, the two stand facing each other, they are reflected, in each other's glasses, the rain runs down the glasses, she opens her mouth and a shaft of sunlight breaks from it and her sex, he opens his mouth and a shaft of sunlight breaks from it, they kiss lightly, their glasses implode into fragments that form stars in the black space of their eyes, pullback, her body becomes horizontal waves, his body vertical waves, they rotate about their genitals 90° and slip together, zoom in to waves, hold waves; fade » END EVANESCENT DENIZENS OF THE ASTRONOMIC GASTRONOMY An Ephemeral Romance Stageplay (The houseliqhts dim until the theatre is completely  dark, Three voices, pre-recorded on tape. are heard  over a sound system.) VOICE 1. (Female.) Did you hear what happened? Well ... VOICE 2. (Female. teasing.) Where are you going God? VOICE 3. (Male.) To masturbate. (Voice recedes mumbling.) If you want something done right you have to do it yourself. (The ceiling of the theatre above the audience is suddenly  lit in the densest, lushest reds. A DNA strand constituted  of approximately thirty naked! men and women hangs precariously  over the audience. The mobile of people swavs gently. threatening to break and fall on the audience. The fragile  tinkling of glass is heard. Blackout. A few seconds of  silence. The rush of the ocean breaks onto the silence. A. s hi pis  whistle blows. The sounds of a "Bon Voyage" ship departure  are heard. A seductive male voice speaks.) VOICE 4. (Male.) Good evening ladies and gentlemen and welcome aboard the planet Earth. On behalf of the Management I would like to thank you for flying Sol Three and! hope that you have a pleasant journey. Your arrivals are a bit messy and haphazard and your departures somewhat arbitrary but then we don't require any passports or visas and no questions asked. The Social Director has a full Calendar of Events to entertain you with: earthquakes, floods, fires, diseases and the list goes on and on. Ah-ah no peaking. And if you get bored I'm sure you'll find ways to amuse yourselves. We are one big ball!! Hahahaha ... ball! Like the planet is a round sphere like a ball andi to ball meaning to screw meaning to copulate and ball as in Masked Ball ... hahahaha! That's a triple! You have to be quicker than that! Hahahaha ... (Silence. The curtain rises. Most of the stage is water. a canal. It is a, Venice set. On either side of the stage  houses rise from the canal. At the rear of the stage a. bridge spans the canal. A_ gondola bobs on the surface of the water. At the front of the stage is a quay with a couple of trees in full bloom. Under the trees is a small round table. a young man and a young woman dressed in chic evening clothes sit at the table. Her dress is short. They are both beautiful. It is dusk. Everything is lit in pastels; blues. mauves. pinks. etc» The two people stare at each other without speaking. In the background coming from one of the windows is the record of a tango playing. The water laps. The two stare at each other. The gondola sways. A breeze rustles the leaves of the trees. A_ lighting change is executed similar to a timelapse sequence on film; dusk turns to darkness. the windows light up. the moon rises. the stars appear. a couple of street lamps above the table but mingled in the trees light up creating beautiful shadows. The tango plays. A, gentle breeze blows from the wings rustling the leaves and making them waver.) SHE. HE. SHE. What are you thinking? I'm thinking about you. You don't have to think so silently. 72 HE. But if I utter what I think I abandon all other possibilities. So long as everything remains unsaid anything is possible still. SHE. But by saying something you automatically trigger new possibilities the possibility of which has not even occurred to you yet or even suggested, by your silence. HE. You have destroyed me. SHE. You see, it worked. By saying what you didn't want to say about not saying anything you caused me to cause you to and we can now talk about your destruction. HE. I knew you were going to say that. SHE. How did you know? HE. I don't know how I knew. I simply knew. Of course I can't prove it. If you really wanted to dispute it, to say that I didn't know, there would be no way for me to prove it. I am at your mercy. SHE. First I destroy you and now you place ;yourself at my mercy, what's your fetish? HE. No. No, not at all. You see, I knew I really wasn't placing myself at your mercy. There was never any danger, really. I was quite safe. I knew that. (cont.) It's th8 game, my way of seducing women. Actually I am destroying you and you are at my mercy, I was simply acting as a decoy that you could identify with, actually I'm lying in order to destroy all your frames of reference. I'm telling you I'm lying because then you'll feel I'm at your mercy again. Of course there is no way to prove all this, because I should have said all this before in order to be able to offer it as evidence that I knew, but then I would be responding to unsaid things and that would limit the possibilities in response, as with unsaid things, remaining unresponsive leaves everything possible but in reality, as you said to 'said things', by responding I would trigger new possibilities. So there is no way I can prove that I knew anything. I'm at your mercy. You're sweet. When did you taste? What were you going to say? That you weren't going to say. Would you like another drink? Wine, sherry, absinthe;, liquors, anything? 74 SHE. Anything? HE. I'm sorry I don't have any. 5HE. Any what? HE. Anything. SHE. But you offered. HE. Yes. Well. Yes. I didi. Anything. 5HE. It's not important. You're important. HE. How can you sa/y that? I mean, I'm part of anything and if I'm important then anything is important or if anything is not important then I'm not important. Now which is it? SHE. There is no distance between everything being equally important and everything being equally unimportant. HE. There is something wrong with that. SHE. You sense it too, huh? HE. You mean there is something wrong with that? SHE. Isn't there? HE'.. I simply responded to open up a new possibility. SHE. But I said that to see if you could discover what was wrong with it. HE. Oh. Well. I don't know. SHE. No. You don't. HE. You smell like a violet. I love your smell. SHE. I am a violet. HE. Would you like to go for a swim? SHE. Right now? HE. Uh-huh. (They undress completely and dive into the canal splashing  the audience. They swim to the gondola and climb into it. She lights £ torch. They slip back into the water as if they had accomplished some prescribed task. They swim back  to the quay and climb out. He goes into a house and returns  with a towel. They dry each other and pull on their underwear. He finds a couple of coathangers. puts his clothes on one  and her dress on the other. He hangs them from a tree branch. She looks at them.) 5HE. They're empty. I'm having a deja-vu. This has happened before and I knew that I'm having a deja-vu. And you. You've happened; before. The smell of the night. I feel so absolute. Alive. HE. Then, we know each other? (They kiss barely touching each other. Giant eyeballs  appear in all of the windows in the buildings. An unexpectedly long time passes. The eyeballs withdraw  and they stop kissing. They sit down at the table.) WE. There are four billion of us. Four billion. SHE. I don't think I understand;. HE. If there are four billion of us and half are men and half are women, there are two billion women. Of the two billion I can ignore a billion and a half as either too young or too old. That leaves half a billion, five hundred million possibilities. And who is the right one? Is she in that five hundred million or is she already dead or not yet born? Let's assume she is in the five hundred million, then my chances of meeting her are one in five hundred million. SHE. But she is in the same boat, her chances of meeting you are one in five hundred million also . HE. Our chances of meeting are ... the chance that you and I are the best possible choice are one in twenty-five quintillion. If I could make love HE. (cont.) to a different woman once every twenty-four hours for, say, twenty years then that's three hundred and sixty-five times twenty is seven thousand, three hundred women I could meet. Seven thousand! three hundred of five hundred million is one one-thousandths of a percent. Even if I ignore a hundred million as too ugly and a hundred million as too beautiful. I'm in love. I'm in love with all women. I'm in love with the concept of woman. I'm getting sick. You see, I have walked; down so many streets and watched so many couples. And I wonder if they madie the.'right choice, the best possible choice that warrants each to say "I love you" without reservations. Or have they merely accepted expediency? Anyone to keep the loneliness filled. How many of them are liars? And if they sold out, if they betray themselves and another, so easily ... how can they be trusted? What possibilities have they deserted? How many times a day do they lie to themselves and others? (Pause.) 78 SHE. Andl you ...? HE. I'm frightened. I'm frightened of being alone. Dying alone. That's the price you have to pay for not betraying yourself or anyone else. SHE. I couldn't live with that kind of honesty. HE. Can you live with so many betrayals? SHE. No. Yes. I... I HE. I have talked with myself as the subject. But it applies to you just as much. SHE. Let's make love. HE. No. I can't. I couldn't take another disappointment. What remains unsaid, undone, remains a possibility. SHE. Could we go to the theatre? HE. Why? SHE. It's the one place where romanticism still exists, HE. But romanticism is staging, props, lighting. The more expensive and elaborate the more romantic. SHE. You're such a cynical son-of-a-bitch. Can't you leave some illusions? HE. All that enormous backstage machinery supporting that fragile illusion up front revealing the: backstage of the characters' minds? SHE. Please: don't ... 79 HE. I'm sorry. You're right. We are alive, the moon is hypnotic and you are beautiful, I want to make love to you on a mountain top where we can be alone with the wind and close to the stars. Would you like to hike up tomorrow? SHE. I'll race you up the mountain. HE. Alright, letls go to the theatre .. • (A man in coveralls• the WORKMAN, walks onto the quay and  up to the male.) WORKMAN. The rentalis up. This is as much time as you paid for. The stuff has to go back. WORKMAN. I have my shipping orders. (The WORKMAN pulls out a. bunch of papers and thgusts it  into the male's hands, HE reads. The WORKMAN waves offstage  and barks incoherent orders everywhere. The stage is  flooded with WORKMEN who in a flurry of activity and noise;. like a swarm of bees.dismantle the set. The WORKMAN barks  orders into his walkie-talkie and looks up at the lights. The lights begin to go out one by one. One of the WORKMEN HE. What the hell is going on?! grabs their clothes off<>the tree. others whisk off the  table and chairs. Suddenly all the sets« houses/bridge/ gondola/trees/lights. disappear into the flies and wings. The lights are still going out one by one. All the men  disappear and the WORKMAN goes up to the couple. He  takes a small clipboard from his pocket and shoves it  along with a pen into the male1s hands.) WORKMAN, (To the incredulous male,) Sign at the bottom please, (HE signs. The WORKMAN walks offstage. A_ moment passes  then the WORKMAN shouts from the wings.) WORKMAN. Hey! ... Hey you! ... Get the hell off the quay (The two -slip into the water since they have nowhere else  to go. The quay swings back into the wings. The lights are  going out one by one. They tread water.) HE. Swim in that direction (HE indicates to the rear of  the stage.) and shout if you find something to hang onto. I'll try this way, (HE points to the wings.) (As they disappear from sight the lights go out completely• In the darkness all that is heard is their swimming away  from each other. The swimming fades. stops») HE. (Faint, panicky.) Hey! Can you hear me! Where are you (Silence.) HE. (Swimming back.) Hey! Hullo! (HE stops swimming«) (Silence.) HE. Where are you! SHE. (Faint.) Have you found anything?! HE, No. Have you?! SHE. Nol HE. Where are you?! SHE. Here! HE. Start counting and I'll swim towards the sound! SHE. One! Two! Three! Four! Five! Six! 5even! (HE swims then stops.) Now I'll count and you swim towards me! (Still faint.) O.K. One! Two! Hey! Hullo! Don't start counting again! Pick up where I left off! What number did you stop at?! I can't remember! Start at fourteen or something! Fourteen! Fifteen! Sixteen! Thirty-eight! Seventy-one Fourty-two! Sixty-nine! Ninety-six! Four million six hundred: and thirty-seven thousand four hundred! and twenty nine decimal three six eight four! (SHE swims towards him, When he finishes the last number he  stops to listen but her swimming has stopped..) HE. Hey! Where are you! (Silence.) HE. Can you hear me! (Silence.) HE. Has anything happenedi?! Are you alright! HE. SHE. HE. SHE. HE. SHE . HE. (Silence.) HE. (Screaming in full voice. like £ wounded animal.) Hullo!!! SHE. (Very close to HIM, very intimate. quiet.) Stop shouting, I'm right here. HE. How come your.enot making any noise? SHE. For one thing you're splashing so much you wouldn't hear a battleship come barreling up your ass and secondly why don't you try floating on your back? HE. Oh. (_He floats on his bac:k.) Hey, that's alright. SHE. Isn't this nice? HE. Give me your hand'. ... Well? SHE. I've got it stretched out. HE. Hmf. Why don't you wave it around and I'll wave mine around and hope that we'll hit ... SHE. There it is. HE. Yeah, there jit is but that's not my hand. SHE. (Laughs.) Isn't this nice? HE. Yes, this is very nice. SHE. It rather limits one's choices, HE. Yes. SHE. You're so beautiful and I'm so beautiful, all that's wasted; now in this darkness. 84 HE. You're so beautiful and I'm so beautiful ... SHE. You know what I want to do? HE. Hey! ... Look there is no way unless one of us is drowned in the process. (SHE laughs.) HE. It's not funny. Nothing is funny. This is not funny. I mean, what are we going to do? Just float around holding hands. SHE. I despise zoos. A zoo is created by people and since itrs created it's an act of expression. The people are expressing their feeling of being animals, specimens in a zoo. Once when I was strolling through the zoo I was struck by a sickening idea, what if all the Keepers left or died? I became nauseated. I was in despair as if my execution was only moments away. Then another time I saw a ship, a huge tanker at night, gliding through the water and it only displayed one light on a mast. It seemed odd. A black silhouette of a ship, the zoo ship, abandoned: by the Keepers ... 85 HE. Of course, we could meet with others. There might be others. Then we could have children with a little help. And when we die the children could use our skins and bones to start a raft. We'll have to have lots of children so there can be a lot of material from which to build the raft. SHE. If there are others. HE. Yeah. SHE. I'm frightened, HE. Why. SHE. I just noticed I'm losing my sensitivity. The cold water is numbing me. I can barely feel your hand holding mine ... HE. Let me bite you ... (HE bites her hand.) SHE. (SHE gives a cry of pain.) Ahhh. So long as there is pain I'm still alive, HE. So this is the way it is ... SHE. (Hollowly.) I do love you, I have always loved you ... HE. (Hollowly.) I have always loved you, I will always love you ... SHE. Is that all there is .... HE. Did you really want to go to the theatre .... SHE. I wanted to lie on the mountain top in the grass under the stars with you in me ... (High above the stage the silhouette of a tanker passes  with a single light on the mast. HE begins to hum a tango tune. 5HE joins in. Curtain .) END 


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items