MOVIE SCRIPTS BY DUANE LOCKE MOVIE SCRIPT 16 Director: In this cinema, We are going to privilege The details of daily life, And each scene will be Viewed from an isolated perception. Only the literal fact Will be camerized, No symbolism or sur-symbolism. An awareness of the ordinary mind Will be transmitted. The movie: Snow falling, snow falling in front of snow. Snow falling, Seems nothing but snow. But in the right hand corner, Barely seen, The sun is falling on a sunflower. The petals of the sunflower start blazing, A yellow fire is seen. The snow melts. The sky is a pale blue, a Perugino blue, The type of blue that Perugino painted skies. Camera moves back. The sunflower Is seen to be in a frame, a dark gold frame. It is on a museum wall in a heated building. One museum guard says to another guard, "Do you know there is a heavy snow, outside?" "No, who cares, it so warm in this museum." Snow starts to fall on the shoulders of their uniforms. MOVIE SCRIPT 17 A man with crowbar, pulls on a lock Of a door that has not been unlocked in years. The man has his sleeves rolled up, He wants to display his tattoo. It is said to be the only tattoo Of its kind in existence. Done in Hong Kong. The tattoo is a mandarin duck with spread wings Standing on the eye of a gigantic peacock feather. He finds an urn, mostly ashes. It was the ashes of something burned Many centuries ago. He finds A human arm, so old The skin is dried to the bones. He carefully examines the skin. On the arm there is a tattoo Of a mandarin duck with spread wings Standing on the eye of a gigantic peacock feather. He looks at the tattoo on his arm. His arm is missing. Now he has only one arm. MOVIE SCRIPT 18 A right-handed man holds his left hand In front of a large, flaming candle. The skin is translucent as translucent As a hand in a painting by Gregory De La Tour. He holds up right-hand, it is opaque. He examines his right, it has turned to marble. He takes a chisel from his sculptor's rack, He will carve a hand from the marble. The chisel only slides off the marble. He notices that it is marble from Carrollton, Texas. He picks up a hammer, and carries the chisel To find his wife, so she can carve him a hand. She has left a note on the mirror in her room, She is leaving him forever, going to Carrollton. He goes next to his neighbor, a bulky man, To get him to carve a hand from the marble. The neighbor has a note on his door That he was moved permanently to Carrollton. He goes down town to find someone To carve the marble into shape of a hand. The town is empty. It is now a ghost town, Everyone has moved to Carrollton. He finds out there is no one in the State of Florida. Every one had moved to Carrollton. He decided that he just had to live With his right hand being marble. He could learn to use his left hand, But it was going to be terrible Being all alone. No one to drink Scotch whiskey with on Thursday night. He looked in his mirror. He saw Only the marble, no other part of his body. MOVIE SCRIPT 19 Director: in this cinema on the life of Xavier Villaurrutia Is be done in the style of "s'mbolo del barroco" and will be Titled "Muero ergo sum." We will not use any narrative Or linear organization. The only words spoken is in the beginning is when Villaurrutia Quotes himself, "Mientras por competir con tu cabello." An interruption: The assistant director protests that Villaurrutia Did not say that, it was said by the poet G'ngora. The director immediately fired the assistant director, telling him That he did not understand the aesthetic philosophy upon which This cinema was based. The movie: In front of an inn that has only the floor constructed, an albino Fox plays chess with the skeleton of a fox. The wind knocks over a blank canvas on an easel. A blonde wig hung on a clothes line Falls on the head of a barking black dog. The night is a swinging door, and the door Never stops swinging. A crayon crumbles around some chives Sprouting out of a crack in the sidewalk. An unfinished Galatea is begging the sculptor To carve her a tongue. The echo of a shadow is having a spasm Inside a locked trunk. Sur magazine publishes Nostalgia de la muerte. The End MOVIE SCRIPT 20 Director: This is to be a philosophical movie That eschews mimesis, does not mirror the illusion Called life or the illusion called the world. This Cinema's veracity is that this cinema is life, Is the world. This cinema is literal realism, Is literal realism, or literal visualism, or visualistic reality. The movie, La Chevelure Vol D'une Flamme: The redhead sought the bar where Modigliani Longed to see a wagon wheel covered by snow In Russia. The white spokes made him think of Bones, rib bones, and he could reach through flesh And go through blood to contact the mysterious Reality of rib bones. He could touch what was known by Predated man and predated paint by touching. The rib bones were always concealed by flesh when alive And could never be seen as living rib bones. The rib bones Could only be seen when dead, and the mystery, The hermetic knowledge was gone. It was snowing in Livorno, the redhead wore a midriff, And had chill bumps on her stomach. She touched The bumps, the bumps were like stone cupolas On soft flesh. The bumps felt like Braille. Soon As she feels herself, she was reading sentences. The sentences said that her hair was a sunrise When in open air, and her's was a sunset When she was in the evening shadows. When She combed her, the comb became a satyr, The comb stood upright and danced on its hooves. The comb rubbed its horns against her skull. She was so happy that she decided to go To her attic and write a book on metaphysics. She would write a book on Being, Even Heidegger had not written The definitive book on Being. Yes, she screamed with joy, as she leaped Through the snow, reading the sentences Of the Braille of the chill bumps on her stomach, "I will write a book on Being." Modigliani waited at the bar for the redhead, But she never arrived. He drunk One Campari after another Campari. Copyright by Duane Locke E mail: duanelocke@netzero.net Biographical Note: Duane Locke, Doctor of Philosophy, English Renaissance literature, Professor Emeritus of the Humanities was Poet in Residence at the University of Tampa for over 20 years. Has had (July 6, 2003) 4,897 poems published. With 103 more, he will have 5,000 poems published. Over 2,000 were published in print magazines, such as American Poetry Review, Nation, and Bitter Oleander. In September 1999, he became a cyber poet, added 2,897 poems published in E zines. Is the author of 14 print books of poetry, and in 2002, added 3 E books,The Squids Dark Ink, From a Tiny Room, and The Death of Daphne. He is also a painter, having many exhibitions, his latest at the city art museum in Gainesville, Florida. Also, a photographer, now has over 172 photos in e zines. He does close-ups of trash tossed away in alleys. Duane Locke now lives alone in a two-story decaying house in the sunny Tampa slums. He lives isolated and estranged as an alien, not understanding the customs, the costumes, the language (some form of postmodern English) of his neighbors. The egregious ugliness of his neighborhood has recently been mitigated by the police force who put up bright orange and bright yellow posters to advertise the location as an al fresco shopping mall for drugs. His alley is the dumping ground for stolen cars, and thus one advantage of living in this neighborhood, if one's car is stolen, he can step out in the back and pick it up. Another advantage is that the burglars are afraid to come in on account of the muggers. Taxi drivers and pizza deliverers are afraid to come into this neighborhood. When he has a visitor, the visitor arrives with fear and trembling. His recreational activities are drinking wine, mainly Shiraz, listening to old operas, and reading postmodern philosophy.