Haggard & Halloo Publications
Publishing Creative and Contemporary Writing
by Christopher Barnes
There is a drama here. It could be on a movie set or on location. It begins with a jackdaw’s flugelhorn-like call, probably at dusk, whose air is crimson, with a lemon moon. Compelling opening. Then there is another call, for Vincent Jack, the make-up artist. An unidentified Joyce then brushes crumbs from a drop-leaf table “into fire,” which could be directions from a script. The second frame repeats this. Then the intercom questions if Vincent has heard his call. The third frame repeats that. Again, what follows could be script directions: someone’s raising their head, throwing a shadow. Then the reply. Maybe “last night” was the one with the jackdaw, lemon moon, and crimson air; when Vincent was somewhere else, not preoccupied with the film shooting. Joyce may have been his companion, and her brushing the crumbs off the table may dissolve that previous real-life scene, in which the call for make-up (something made up) was not heard, because that scene was real, beautiful, and personal. The overlapping frames indicate the illusionary work in progress intruding on a cherished moment of reality. How’s that?
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