unfold freedom, unfold

sq9a

screenplay from the dictionary of coincidences volume i (hi) trailer:  unfold freedom, unfold or sequence disruptor 9

FADE IN:

A man lying upside down on a sofa.  His face is sideways(?).  He has a hat on.  And some cool glasses.  In the background some asskick music is playing

FADE OUT:

FADE IN:

s{e}an?

At one time I thought I would just drown myself in creation.  It didn’t matter in which way I did it.  I can’t paint or sing or play any musical instruments very well.  I can barely write.  But barely write I do.  And that is the instrument I chose to create with.  I confess it was only because I wasn’t good at anything else.  I realized, however, that it wasn’t possible to drown myself in that way.  It would mean abandoning everything and everyone.  It would mean forgetting about mundane but necessary activities (making money, paying bills, eating, returning phone calls).  It wasn’t possible for me.  I had read about others doing it but it never seemed to end up well for them.  I wanted to end up well.  Those who make it through eventually get out of the water, so to speak.  They have agents, advisers, housecleaners, accountants.  But I think it becomes impossible for them to create.  I think this based on sound evidence.

FADE OUT:

FADE IN:

EXT. The tops of trees passing by in slow motion (?) as if viewer is in a helicopter flying halfway above the trees and halfway in the trees.

FADE OUT:

FADE IN:

s{e}an?

At a certain point we are only replicating what was done before. Trying to return to what was once there instead of moving forward—“if only I could see the world the way I once did”. Some people don’t think of it in this way.  They can’t see it for what it is.  They don’t see what prevents them from drowning.  Every piece of instruction is a life vest.  Every insight not gained through experience is a buoy.  Every ‘it must be so’ is floating debris one clings to.  Every longing to recapture what one once possessed prevents one from going deeper. We prevent ourselves from going deeper.   We are kept afloat.  But these things may also have value.  They show us how deep the sea is—they reveal the boundaries across where we can clearly see the peril.  In time, if we think of it in the right way—and this is especially difficult to do—all of this may become part of the experience—part of the weight—that sinks us deeper.

FADE OUT:

FADE IN:

EXT. More tops of trees passing by as if viewer is in a helicopter flying halfway above the trees and halfway in the trees.

FADE OUT:

FADE IN:

 Dodo

Gigi

FADE OUT:

FADE IN:

 Gigi

Dodo

FADE OUT:

FADE IN:

 s{e}an?

Naturally there were experiences that produced the content of my first book “One Note Symphonies”.  But they weren’t distinct experiences.  It was never a case where one incident became the axis around which a story revolved.  My memory has always been vague and so my memories became blurred.  I remember myself in situations that could not have possibly occurred.  I misplace people.  I misplace locations.  From this misplacement new situations and images are created.  I think this is quite normal.

FADE OUT:

FADE IN:

INT.  A desk drawer is opened.  We see a hand take a silver 9mm gun out of a drawer.  The gun is pointed toward the floor.

FADE OUT:

FADE IN:

s{e}an?

I have no memory of “Still Life in Motion”.

FADE OUT:

FADE IN:

INT.  Someone is walking quietly up the stairs.  We don’t see who it is.  It’s creepy.

FADE OUT:

FADE IN:

s{e}an?

From “The Unknowed Things” I can infer the machinations behind “Still Life in Motion”.  If I think of my work as a progression, an evolution, a Hegelian “unfolding of freedom” (as I would like to think of it) then “The Unknowed Things” was the work that provided the clearest example of this unfolding.  “Still Life in Motion” then must have been a counter-lever to the necessary improvement of my memory.  Memory which is itself anathema to the unfolding but without which survival is impossible.  And perhaps that is why I have no memory of “Still Life in Motion”.  “The Dictionary of Coincidences” then is the apotheosis of this progression.  My progression.  After this, I think there can be no more and certainly no less.

FADE OUT:

FADE IN:

INT.  A closed door.  A hand reaches out to open it.  Turns the doorknob.  Black.  Opens the door.  We see the gun from behind.  Someone is holding it.  The person moves into the room.  Raises the gun and points it.

FADE OUT:

FADE IN:

s{e}an?

I was and am still happy.

FADE OUT:

FADE IN:

INT. The trigger of the gun is pulled.  We hear the sound of the shot.  The gun kicks back in the shooter’s hand.  We see the book “the dictionary of coincidences, volume  i (hi)” with a hole in it—shot and bleeding.  Spinning spinning spinning.  Dying dying dying.

FADE OUT:

Advertisements

5 thoughts on “unfold freedom, unfold

  1. So I just youtube typed in “sean brijbasi dictionary of coincidence volume 1 (hi)” and it just took me to this video about learning English, specifically “the meaning of Mendacious”. I don’t know about you guys but I can smell a fraud when I see one. I mean, who would call a book “Unknowed Things”. That’s just retarted.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s