Parts Ia [& Ib following, hopefully, after dotted line 01/30/04], Chad Deleroix's Act
[Screenplay Treatment With Trailer Scenes Dialogue for spring 2004] copyright
C. Wallace D. Brindle
ESP
Memphis, New York, Los Angeles, Tallinn, Munich
Copyright Espérance Studio Productions, A Ltd. Partnership,
and C. Wallace D. Brindle 1998, 2004
1998, 2004
Part I
scrpt
"First door on the right, just past the bust of Beethoven, Dr. Emmanuel.." A downpour
swept in on a bluster of wind and, with rainwater dripping off his taupe-colored
trenchcoat onto the black and white patterned floor of the entryway, Chad Deleroix
gave his new friend the directions he'd needed since they'd left the rehearsal hall.
They had come from another long session working with telavurt technicians, and the
entire Composers' Opera Company, in a part of town near upper Broadway that gave poor
odds on finding a public bathroom. Of course, the composer thought, Emmanuel could
have used a dressing room at the hall, considering they were open precisely for this
reason; for all the musicians and singers, and televurt people. Moreover, made available
on a day when the Manhattan School of Music facility would normally be antiseptically
locked-up against tobacco-hooked predatory thieves and homeless AIDS4-infected
prostitutes. "The guy must be forgetful about such bothers; but I'm a poor one to
fault that." he mused.
The door closed on some light-hearted comment, drowned-out in any case by a bellicose
report of thunder outside, but possibly concerning where Chad had directed Beethoven
to stand guard. Alone with himself now in the foyer for the first time in many long
hours of whining and bitching, and gratification and joy, his richly appointed front
hall consoled; revered him, as always. The strangeness of being involved in a project
with a second person, even now, stirred him to reviewing that decision. He had agreed,
after all the years of ritualistically maintaining insular work habits, to double-up
with a collaborator on an opera commission.. Straining against it, he had considered
the libretto with developing interest over a period of several weeks at his daughter's
home in New Hampshire, finally agreeing. When he did so, his daughter, Fidelio, looked
worriedly at him. The breach of his world, which a partner represented, was still so
new that he had vented; loudly reminding her how often she got that loo k since her
divorce from the "Lochinvar pianist" he had warned and threatened about, to no avail,
back in 2005.
The Poet came striding back down the hall, adjusting himself. "Nice locus classicus,
thank you sir." As they walked down two steps into a tabernacle-sized drawing room
with a great black Steinway, Emmanuel took up a conversation from the previous day,
"Now, once more if you please Chad, what is it you find so appealing about the Goethe?"
"The Answer is in the opera." was the reply; spoken while looking, not at his colleague,
but across the room at a portrait hanging between two dark and immense mahogany bookcases
built into the wall. "In The Final Warning of Eisenhower."
Dr. Emmanuel, who had written the libretto and spent yet another afternoon working at
this, their mutual - some were already saying - masterpiece, raised an eyebrow. He was
nonplussed by the unexpected answer to a question designed to effect a hopefully refreshing
(not to say polite) shift to a new area of discourse. "How's that?" he asked, somewhat
resignedly then settled into a black leather chair under the portrait. Adjoining this
chair, an antique chessboard, upon which pieces of light and dark colored marble deployed
in medias res. The implied opponent and source of the gift itself, he knew, was Wilhelm
Bitzleitner, current conductor of the Paris Opera. Maestro Bitzleitner was an early and
perpetual firebrand for Deleroix's artistic output.
"What would you think of me if I told you the reason for my intense interest in our
Eisenhower was to be found in the writings of your Goethe?" A pregnant moment passed. Dr.
Emmanuel watched Chad Deleroix move to a twin of the chair in which he sat in silence,
thinking about what seemed the most unusual utterance from his friend during the year they
had known one another. No small assertion, given the frequency of queer, prima facie that
is to say, comments of which Deleroix was perhaps famous. Indirect light in the room suffused
a mise-en-scène quality that eliminated the sense of walls or corners in the surroundings:
there were only the two, with the game between.
"I would not say anything, my friend, I would sit here and listen to what you have to tell
me." Said Dr. Emmanuel.
"Good. But you must tell me your thoughts, when I am finished. Not only because I have come
to value your intellectual judgement, but also, please do not react right away, give this a
little time, at the very least the time it takes for me to make my little speech..."
"Not at all, sir, you are not given to speeches."
"...well then, fine; I am necessarily looking forward to your reaction because I believe we
must alter, radically alter the third act." Chad Deleroix held his hand up like a traffic cop
then, just ahead of a truncated, on the threshold of audible inhalation. "Let me begin by
telling you that there are certain passages in Goethe's Divan of West and East, and elsewhere,
pertaining to rapprochement with the Eastern sphere, that permanently altered my discernment
of both history and our prospects for a future.
Dr. Emmanuel stood to walk over to the decanter on a table across from them in order to pour
a glass of port, but within a few steps he stopped and returned to his seat. "What, do you
mean: 'alter'?". His lips were a thin, impregnable, straight line.
"In his Faust, Goethe, you will recall, Herr Doktor Emmanuel..."
Emmanuel's line became perceptibly thinner, he had never liked Chad's jocular use of this
appellation.
"...wrote these words: ' He who seizes the right moment, is the right man."
"Certainly, yes, but please tell me why, with the vurtaping nearly ready to be done, why --
how you could think of changing my libretto? An entire act, Chad! The entire third act!?"
"But there is ...a...thing... I must tell you about first...it is an odd thing - but I doubt
if, without this first understanding, you will understand the utterness of this need for the
third act change."
"Well...yes, but...I see, Chad. Please, continue."
"When I was in my early 50's and still working on my Turn of the Screw; before all..." he
looked around at the splendid accommodations, "...this. I was alone in Munich then, and my
life as Kappelmeister was well into becoming tedious and stark."
"Yes, I too have had such a time - perhaps we all do."
"No, not like this, my friend."
"Tell me about what was wrong."
"It is how I handled what was wrong that is important. I felt a need that, the intensity
of perhaps, is beyond explanation. It had to do with a need for the hope of perfection in my
life. So I took some action, I had to try to provide myself with the hope of perfection.
"I see. What action. Tell me."
"On the Uberbahnhoffstrasse, I took a flat, an empty flat that had no windows, and that was
removed at the top of an old nineteenth century converted mansion."
"You moved to this studio?"
"No, I did not move." He touched , then rubbed at his temple, remembering things, a wish,
as if to touch the thing remembered, to find the little indentations and curves and freeze
the self-selection of chroma in the shapes at the right thought time. "I did not move in."
Instead I had it cleaned, three times; by three different firms in different parts of the
city."
"This is remark..."
"Then I paid the lease for three years in advance. There was no trouble at all, I made some
excuse to the owners, who were very pleasant about it."
"Yes, one would expect that."
"But I did not expect it. I thought there would be some suspicion; especially when I forbid
them to enter the premises at any time or for any reason, whatsoever. I made them sign a
document, which I still keep to this day, in the desk next to my bed, indicating forfeiture
of all the rents paid with a large additional amount -- a penalty."
"Yes, there would have to be a penalty..." Dr. Emmanuel's voice had taken a slightly less
animated tone, as if it were coming from a higher place in his thoughts.
"Then I put the first items into it. There was a very neatly built bookcase in the third
room, just off the entrance. I dressed hurriedly that morning, forgetting to match my socks,
I remember that. Then I put the first thing into my attaché and walked to the flat in great
excitement, though with each block I gained, I became as though I were going into a light
trance, in a way, I cannot describe it."
"You are doing fine, what did you have in your case?"
"It was the revurt of Rachmaninoff 3. Martha Argerich. From the 80's. I took off my coat
in the empty living room and placed it on the floor, next to the attaché. Then I put the
attaché on top of my folded coat and opened it. I took the revurt, still in its stretch seal,
and walked into the room with all of the clean shelves and placed it in its spot."
"You had no SeePee to run it on?"
"No."
"Just the Argerich Rachmaninoff in its stretch seal -- in its spot."
"I have not run this program, does she play well, Chad?"
"Yes. Quite above satisfactory. Without any splices, straight through all the way, I
checked with a son of the engineer, who was a teenager then. The next day I returned with
a new pair of shoes, illegal material now, I had arranged to have sent from Paris the day
before - after returning to my residence. I took them to the flat. I took them out of their
package and put them, without even thinking of checking on the revurt, I could feel that it
was alright -- still where I had put it, and that it was...right; I put the shoes in the empty
bedroom closet. Things started to get better for me almost right away."
"This is extraordinary, though I wish to be clear on how you knew what you wanted for this...
sanctum."
"Not quite right...sanctum, no...not exactly that. The following day was a Saturday, I remember
this very clearly, Dr. Emmanuel, it was a splendid day in June. I went to a shop I knew and
purchased two, well nearly - virtually, identical chess sets that had been imported from Istanbul,
not plastic, stone. The owner of the shop was someone I could trust and he assured me the had both
been carved by the same artisan. There was something about these sets. For several months, after a
rehearsal I would sometimes go past the window and look at them, they were so similar, I arranged
for the shopkeeper to display them in juxtaposition from time to time. They were very expensive,
quite exquisite, my friend agreed to do this when I told him that if I not correctly guess which
was chess set #1 and which was #2, I would purchase them both.
On the day I bought them, immediately I went to see a man who was a sculptor in metals, whom I
knew from years before when I had admired his exhibition at an opening one evening, to which I had
been invited, accidentally, really, as it seemed to me then. I had him permanently affix the pieces
on one of the boards, for I no longer could tell them apart, nor, to my delight, did I any longer
attempt to do so. I thought it would bother me to watch, I was afraid he might place a piece
incorrectly, and then what?"
"But this sculptor friend of yours played the game and knew the proper positions of the chessmen,
yes?"
"I was not speaking of their relative positions, Herr Doktor, rather, their objective positions
within the apropos squares."
"Yes, I see now...but only one set. Just the one, and the other."
Chad finished for him. "Suddenly, I recall the moment well, it occurred to me that this was an
artist whose talent I believed in, and who had not asked about my purposes, and that it would be
right.
"I paid my man handsomely and took the fixed set and the...operating set to the flat. I was indeed
pleased to see a table had arrived and it was standing in front of...my door as I had arranged.
"When I had finished setting the two boards with their players on the shinny, refurbished Louis
the 14th table, done in coats of glossy black enamel, I could see, standing there in the living room,
in front of my latest acquisition, I could sense that it was right.
"That night I slept seamlessly, and woke refreshed as I had not in years. The newsboy on the corner
was there as usual and I bought a paper. I put this under my arm and went to a place where I had
seen men lined up at 7:00 AM several times. The place was a bar that alcoholics frequented.
"I went inside and ordered a cup of coffee, then took it to a table by the window and read the front
page over and over. The headline that morning was about The Catastrophe. The huge California bowel-
vomiting earthquake. I remember I read it over and over, perhaps a dozen times, before it sunk in.
The death toll passed through me without any comprehension; the estimate in that morning's paper was
that fully 5000 square miles of the southern part of the state had disappeared into the sea.
/--------------------------------------------------------------------------------
--------------------------------------------------------------------------------
ONLY SPEC MUSE WOOL-GATHERING NOTES:
Potential Plot CDAIII #One: }{\i\fs16\ul C tells E what it is between Goethe and Eisenhower that is
to be expressed in the third act of the opera. He goes on to say that the solution can only be found
at the (still rented) flat in Munich. They bo th go there. C brings the sculptor along and has him
unfix the fixed chess pieces. Everything, in several different loci [say the rehearsal hall for the
opera, the composer\rquote s home in NYC, (bust of beethoven), daughter, daughter\rquote s children,
etc, choose meaningfully] disappears one by one. Last thing to go is C himself, standing on an infinite
chessboard array.1/20/98 6:13:11 PM
--work backup of my III page spec notes--
Potential Plot CDAIII #One: }{\i\fs16\ul C tells E what it is between Goethe
and Eisenhower that is to be expressed in the third act of the opera. He goes
on to say that the solution can only be found at the (still rented) flat in
Munich. They both go there. C brings the sculptor along and has him unfix the
fixed chess pieces. Everything, in several different loci [say the rehearsal
hall for the opera, the composer\rquote s home in NYC, (bust of beethoven),
daughter, daughter\rquote s children, etc, choose meaningfully/integralés]
disappears one by one. Last thing to go is C himself, standing on an infinite
chessboard array. [???? dubious &/ lite value]...[reviewed this idea on 09/10/03
at 12:21 PM]...[] 1/20/98 6:13:11 PM
Screenplay CDA, Reels: 3 ?
epigram: {Miss? Nah...Phyllis Wright just jumped in yet again -- singing very Art Blakey now! -- what
next?!
-- "Acting For Nothing"? -- I'm Impressed...[yet again]. -- Was your brother Steve on that session?
CWDB [A Knight Of The] --:AFM, Local 30-73, Machinists Labor Temple, 1399 Eustis Street, Saint Paul,
MN, USA: AFL-CIO :::: Knights Templars went way underground about 1399 -- coincidence, or what???
Phyllis?? -- Hello? America?..."...now, why do they keep hanging up...that is so strange... Beep beep--
Beep-beep--Beep-beep..."}
Opening shot: exterior.night.raining.view through odd-shaped futuristic \par windshield wipers between
seats holding two men in the front compartment of \par a luxury car [Hardly ascertainable rain and smoothe
motor sounds][Start \par credits over][Voice over:
{}{}{}{}{}{}{}
(Notes From R. Life 08.19.03 / 08.20.03 / 08.25.03)
The World's Greatest Speeches, Edited by Lewis Copeland and Lawrence W. Lamm
Third Enlarged Ed., 1973, Publications Incorporated, New York
President Eisenhower delivered his farewell address to the nation on January 17, 1961. The speech was
broadcast over radio and television. Eisenhower here used the expression "military-industrial complex,"
warning of its possibly excessive influence. Emphasis is also placed on the danger of loss of individual
initiative resulting from extensive government involvement in technology and research. Major portions
of the speech are included here.
[VOICE OVER OPENING CREDITS -- see original's domain]
"This evening I come to you with a message of leave-taking and farewell, and to share a few final
thoughts with you, my countrymen. [...] A vital element in keeping the peace is our military establishment.
Ours arms are mighty, ready for instant action, so that no potential aggressor may be tempted to risk his
own destruction.
"Our military organization today bears little relation to that known by any of my predecessors in
peacetime--or, indeed, by the fighting men of of World War II or Korea. Until the latest of our world
conflicts, the United States had no armaments industry. [plot idea here] American makers of plowshares
could, with time and as required, make swords as well. [also ties in Wozzeck: Agent(?)]
"But we can no longer risk emergency improvisation of national defense. We have been compelled to
create a permanent armaments industry of vast proportions. Added to this, three and a half million men and
women are directly engaged in the defense establishment. We annually spend on military security alone more
than the net income of all United States corporations."
"Now this conjunction of an immense military establishment and a large arms industry is new in the
American experience. The total influence--economic, political even spiritual--is felt in every city,
every state house, every office of the Federal Government. We recognize the imperative need for this
development. Yet we must not fail to comprehend its grave implications. Our toil, resources and
livelihood are all involved; so it is the very structure...
=======CWDB============CWDB============CWDB============CWDB============CWDB========
Look at Tesla biography
1 Tesla http://www.amasci.com/tesla/tesla.html
2 Tesla http://www.yurope.com/org/tesla/ [dead page or server down?]
also see: The Weapons Shops of Ishur
...by A.E. van Vogt. ##Van Vogt's influence on the field was substantial. The stories collected
in The Voyage of the Space Beagle were perhaps the first to chronicle the adventures of the crew
of a large, military-style starship exploring the universe, and oubtless influenced Gene Roddenberry
strongly when he created Star Trek.
(The Space Beagle first appeared in Astounding magazine in July 1939, about two years before the
first of Eric Frank Russell's tales of the crew of the Marathon, which bear an even stronger
resemblance to Star Trek. Earlier recurring stories about spaceship crews I am aware of featured
much smaller, less organized bands of adventurers, most notably the two-man team in John W. Campbell,
Jr.'s Penton and Blake stories.) One of the Space Beagle stories purportedly inspired the movie Alien
- the resemblance was great enough that van Vogt brought a lawsuit against the filmmakers, which
reportedly settled for a $50,000 payment. Reading The Weapon Shops of Isher also made me wonder if
Philip K. Dick was among the many significant SF writers van Vogt influenced. Weapon Shops has
several moments when the nature of reality seems to suddenly shift, as so often occurs in Dick's
work. (##fr. Review by Aaron Hughes)
=======CWDB============CWDB============CWDB============CWDB============CWDB========
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fr. The Chad Deleroix's Act notebooks of Wallace D.Brindle
Added 09/10/03 [][][][][][][][][][][][][][][][][][][][][][]{}{}{}{}{}{}{}{}{}
Military-Industrial Complex
FWE Goethe Erlkonig Schiller
Poverty, Disease, Ignorance
The Final Warning of Eisenhower
Chad Deleroix's Act
[1](2) Chess "Set"
[2](1) Chess Game
[Chad & Sonya] Time Chess *Chad & Sonya*
\ante-chess name change her?\
Chess Scenarios Differential
--Is Time Travel Means--
take out above words one at a time
and notice new meaning(s) OR emphasize
italicize differently and see...
Who do the guys in the van work for?
What has Chad D. found in Goethe/or G-Sch ?
What did Chad have wrong or did Dr. Em.
have wrong, in*correct, out of place in
the 3rd Act?
Could something need to happen in the
3rd Act in order that something
-- Poverty, Disease, Ignorance,+ Corruption- [4th add to Eis. by WB] -- ^*^
| Can Vision Be Corrupted ? -- say yes... how, to what end? by? |
^*^ -related solution /\ be erradicated . What something?
Why only under those circumstances
as changed? Is There Chess in the
3rd Act?
--------------
Look into Manheim and Manheim Rocket
Manheim Rocket
q.v.l.1
Manheim Rocket
q.v.l.2
Manheim Rocket
q.v.l.3
Chad Deleroix's Act Part IV
--------------
The Newcoff soldier -- who is he what is he where is he?, He is
aware of the HUGE (Brobdignagian) importance of the 3rd Act change(s).
Ethical Purity = -/+ = Corruption
"Load'm Up; Move'm Out."
Navigator
-- is the Agent "WOZZECK"
NEWCoff man a navigator ?
Of/to what? Where? When Why -->
--> To help Chad? where do all ideas
come from, the Past//or the Future
// or another total6th dimension 5 + time
= 6 /???[time is not a dimension.]???
Read more of the letters Goethe<-->Schiller
Read Beethoven letters if available.
(| probably are |)
(| |)
Quantum & DNA Computers
" '''....,,,,....in opera performance {-?-ers} DNA undergoes a change. "
see instant of change limits in your head now
Certain Emotional C h a n g e s
character & plot potential idea; ALSO pRODvALuZ: INITIATE SOME MORE
CINEMOTION...less snoring...more trombone players...dressing rooms...
hiding places hiding faces archaic forms symbols...F. didn't get
them all. Does Sonya work as a "Pretty Circus Lady" in Estonian or Berlin
Circus? Obvious Fellini references -- but also opportunities to add some
Borgesian thickness to the stew. Age????? [...] No problem, for TW.
Who is this -- want to properly credit the pic. Anyone ... anyone?
{EMAIL}-->WDB
He, the same, at Gaston Park -->;
talked to Keith from Memphis/Shelby Lib about some used analog cameras today -->
---09/10/03---
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=====================================================================
http://www.fastcompany.com/online/18/coppola.html
Find Milus orig H of D Script...
http://www.paradoxmind.com/1302_Films2.html
======================================================================
----------------------------------------------------------------------------------/
Copyright Espérance Studio Productions, A Ltd. Partnership; & C. Wallace D. Brindle 1998, 2004
[09...11...12...AUG 03] + [29 JAN 04]
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C. Wallace D. Brindle
March, 2004
0 [VOICE OVER OPENING CREDITS -- ABOVE ^ check status original's domain
FADE IN: EXT: -- NIGHT - raining - from exterior interior NEW VOLVO CAR
driving in glint and glare of bad rain / second unit stuff]
1 EXT: -- NIGHT - raining - view hrough oddly-shaped 1
futuristic windshield wipers - POV: between seats we see the
two men in the front compartment of a new foreign luxury car.
[VOICEOVER:]
CHAD DELEROIX
ANTICIPATES SYNCHRONOUS TIME BY MOMENTS - CONTINUES INTO
#2, #3, #4, #5
First door on your left... just past my
Beethoven bust, Dr. Emmanuel. Yes, right,
there, you're there. Just so. Everything
you'd expect. All the comforts -- all the
comforts of home. No worries.
2 EXT. raining very hard - strong winds blow their coats 2
[VOICEOVER CONT.:]
Same car pulling into the drive-way from various POV
3 EXT. front of English Tudor-style mansion 3
[VOICEOVER CONT:]
Both men hurry into front door which is being opened by
an older white male servant. Warm home/hearth lights be-
hind servant.
TITLE: Commuter Connecticut / New York City 2042
4 INT. MANSION FOYER 4
A downpour sweeps in on a bluster of wind and, with rainwater
dripping off taupe and tan colored trenchcoats onto the black
and white patterned floor of the entryway.
5 EXT. AT DOORWAY 5
We see servant closing the door slowly against weather as
the warmth inside disappears from view just we see behind
Chad Deleroix, inside, behid servant, directing his compan-
ion outside of camera frame as door closes. Seems glad to be
inside but somewhat hurried; almost animated.
6 INT. servant is taking coat, has two now. 6
DR. EMMANUEL'S VOICE
The guy must be forgetful about such
bothers as marking his score as pre-
cisely specified; but I'm a poor one
to fault him on that.
It is apparent that the bathroom door has been closed on
another light-hearted comment, drowned-out in any case by
a bellicose report of thunder outside. Richly appointed
front hall.
7 INT. CD walks alone with himself now from foyer to study 7
looking - goes to and stands at a desk next to his grand
piano - pages through a musical score in MS.
[VOICEOVER (thought access):]
CHAD DELEROIX'S VOICE
Another long session working with the bloody telavurt tech-
nicians, and the entire Composers' Opera Company, in that
fetid fart part of town on upper Broadway that gives poor odds
of finding a public bathroom -- or a public -- doesn't matter
these days who you are or how you're dressed. Emmanuel should
have used our dressing rooms at the hall, considering they were,
precisely for our being there once again, security checked, I
saw to that little directve. No detail too small; no such thing
as a trifle; inconceivable. All the musicians and singers, and
televurt people have theirs checked, and the way they behave,
you'd thnk they never did that. Bathrooms available. On a day
when the Manhattan School of Music facilities would normally
be antiseptically locked-up against contra-tobacco-hooked pred-
atory thieves and the endless -- so to speak -- homeless AIDS41-
infected prostitutes. But no. And all the bloody way home: "Ooh,
that coffee goes right through me -- accelerando, Deleroix!'" --
I could have stopped after we got out of Manhattan -- "Excuse us,
would you?...Chad Deleroix and, yes, Dr. Phillip Brontë Emmanuel
coming through bloody Mickie D's, that's right -- just to use the
toilet..."
8 INT: 8
[INSERT (one or several similar):]
HEAD SHOT(s) (angle shot from score position of Deleroix)
9 INT:
[RESUME VOICEOVER:] 9
DELEROIX'S VOICE
(knits brows and winces)
That doesn't work. Well, so we've tried a collaboration this
once, it hardly makes me married to it -- if only to shut her
up -- and that Lochinvar pianist she insisted upon inveighing
against the family -- what was left of it -- Strange -- very
strange -- like being intimate with a man to make a libretto
together like this -- And the whining and bitching -- like
being married again -- at least no real histerics -- seems
to cave in pretty easily -- like this figure he's implanted
from the wrong species -- minor detail -- Fidelio, this one
line here, at least, you and that piano player will hear about
-- just not in an opera house.
10 INT: foyer from study, DELEROIX is blur in foreground 10
EMMANUEL comes striding into the work study, muttering some-
thing from Berg's WOZZECK 'Ja wohl, Herr Hauptman' down two
steps into the, now we see, almost tabernacle-sized drawing
room with a great black Steinway and writing desk, a large
old green globe is nearby, behind both.
EMMANUEL
(light-hearted and relieved)
Nice locus classicus, thank you sir.
Now, once more if you please Chad, what is
it you find so appealing about the Goethe
I showed you?
DELEROIX
Spoken while looking, not at his colleague, but across the
room at a portrait
The Answer is in the opera.
11 INT: 11
[INSERT:] Military painting of news photograph of Dwight D.
Eisehower surveying a liberated concentration camp, as seen
on the wall, at edges of frame two dark and immense, built-in,
mahogany bookcases.
DELEROIX
In 'The Final Warning of Eisenhower'.
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkklllllllllllllllllllllllllllllllll
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[09...11...12...AUG] 03
casting and talent services & directories
send to virtual avenue:
regarding: cabvoltaire.virtualave.net/yndex.htm
Could you still cache?? save this file
and USPS invoice me or email invoice
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USA
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What about saving the other files that
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This work is licensed under a Creative Commons License.
Chad DeLeroix's Act, Part II, Entracte Berline
Opening night lights dim at Lincoln Center: 2nd Act Curtain: There is some
murmuring in the audience, as was true earlier in performance. Tiny podium light
pillows the conductor's score: [Performance Direction: …they see before them a
stage upon a stage: As Eisenhower, hours before the invasion of Normandy begins,
one foot up on plain wooden chair, is surrounded by a dozen aides de camp.]
The tenor starts well, strongly, so clear in such precious notes,
the top of my palms, on the seat arms, feel like someone is pouring cold mercury over them.
it beeds to my black Newool tuxedo's trousers. [(PerfDir:) Logistically Eisenhower has tenor part of
duet. Goethe above and downstage, in period ambience and dress, 150 years
before, at polished rail of his library completes this horizontally split scene.
This baritone part of duet contains resonant fragments, musical foreshadowing;
must be performed as such; cuttings becoming whole cloth again. They are melodic
keys to The Final Warning of Eisenhower, Act III.
The singers' words are not identical, nor contrapuntal. There is, at first, an
aleatoric synchronicity to the duet, as if two people across from one another
in an hysterical subway juxtaposition are unaware each harangues the other.
It is noted further, in double remove -- direction not withstanding - Eisenhower
sings what he is thinking/recalling; not the words he shares with his aides.
[Use -- Spcl VrtFX 9.Sq.37.67…]
In A Major:
Eisenhower: ~~Advance Into Germany!
Near An Eb Locrian Mode:
Goethe: ~~…if you only trust
................................................................................................................
Eis: What is your job, soldier? (*Ammunition bearer, sir.*) Where is your
Goe: yourself, other souls will trust you…For man alone can do the impos-
................................................................................................................
Eis: home? (*Pennsylvania, sir.*) Did you get those shoulders working in a
Goe: sible. Between extremes he sees the alternatives. Choosing and weigh-
................................................................................................................
Eis: coal mine? (*Yes, sir.*) Good luck to you tonight, soldier. //~~
Goe: ing these, he dominates change……………………………… //~~
A girl across the aisle is weeping softly at the thunder in front. Both Chad
DeLeroix and herself, as sweeps of orchestral mass between two opposed brass choirs
grow menacing, cacophonous. She and Chad are enclosed within the intentional
onslaught and confusion; enclosed in the din of this 2nd act's sonorities.
Perhaps she is an agoraphobic -- she is afraid for her life -- faux heart attack
fear. He should do something. But interrupt his own performance in the process?
Then he remembers something that transports him, the crises is someone else's now;
the tears on her pale cheeks...he remembered that afternoon when he and Sonya had
walked hand-in-hand down Uberbahnhoffstrasse...
.... .... .... .... .... .... .... .... .... .... .... .... .... ....
"Silly Chad - I am so amazed by how silly you are - and Kappelmeister here in
my little town, a man with," her face mocked serious weight, "with so large a talent
and such responsibilities…tsk tsk: Here you are, The Man of The Hour and you are
capable of being the SILL-- Grabbing her arm suddenly, and with a vehemence which
made a birthing of his earlier brooding that morning in the mystical flat, where
they'd passed the night together: "Don't ever call me that!"
"Chad, you're...Chad...?" she seemed on the verge of tears, and then they came.
He had made his soft pretty Sonya cry; even hurt her a little...
"what is it...what did I say wrong Liebling..." still a sadness of tears mixed
with honest confusion -- and a small fear -- for they hadn't known each other
longer than a fortnight.
"No, it's nothing, I -- it's this Cantata for Sunday, it is impossible to write
-- there are no solutions at all! If there are, they quite elude me Sonya!
I can't do it! Just infernal impossibilities screaming at me from a choir of metal
mouths. And the instrumentalists -- ooh!..they know it too, oh yes! And..."
Sonya squeezed Chad's hand and hurried on with a finger to her lips, eyes wide now
in distracting him. She knew him better than he did himself. She drew him on,
protesting somewhat, to a certain tiny hidden park, up the sidewalk, half a minute
of sunny day's walk.
"Küchenzettel Bitte?" Sonya asks the waitress. Presently they are looking
over the menu. Then she takes his hand and asks him, "What was it before,
what did I say?"
"Nothing, what is that book you have?"
"It's from my school." "May I see?"
[INSERT BOOK in Chad's Hands at table: Goethe's World As Seen In Letters And Memoirs]
"My professor gave it to me. It's for my history class. Do you like German History,
Leibling? Is it a good book?"
"Why do you doubt your professor, Sonya, you said he was a very fine academic."
"But...not like you...he doesn't put things together, make new things, like you,
Chad; he only knows about what others have already done. It is interesting...but not..."
"...not exciting," Chad smiles devilishly, he clips his words auf Deutsche, in uzz-air
voorts: He isssn't playing at Gott."
The "Ts" startle her a little, thet are so overpronounced.
"...well, yes, I mean no...I like this part, look Chad here, see, I wanted to bring
you these letters between these two men, it sounded like what we were speaking about
that day in the Entracte Berline, between the double movies, ins Kino, when we went
out on our first evening together...I wished to help you today, I thought these would
do something, here look at these letters...these two letters here, Liebling." Sonya gave
him the opened book. She looked at Chad; she was so in love; she was so proud and glad
to help her man, she even forgot her little hair flick habit when she was being serious
with him, all she knew was her magician needed help these days on his music making; and
now she was consumed with the hope, she was maybe going to be helpful. Sonya loved him
so much. Her's was the love that belies examination. Over their struddle, Chad read:
GOETHE TO SCHILLER, Weimar, June 27
Your remarks about "Faust" gave me great pleasure; naturally they coincide very well with my
own projects and plans. But I am not so strict with this barbarous composition. I think that I can only hint at the
higher demands yet not fulfill them. In this manner, reason and sense will probably beat each other about like two
pugilists, and afterwards sit down amicably together. I will take care that the parts are pleasing and entertaining
and that they offer food for thought; to the poem itself, which will ever remain a fragment, I may apply our new theory
of the epic poem.
Chad smiled to Sonya, (eating); then looked at the previous page:
SCHILLER TO GOETHE, Jena, June 26
I have now again read through your "Faust" and I feel actually giddy from the denouement.
This, however, is very natural, for the matter is based upon some special conception, and as long as this is not grasped,
a subject much less rich than the present one would put reason into a state of dilemma. What I am anxious about in regard to
it is that, in accodance with its character, "Faust" appears to require a totality of material if, at the end, the idea is to
appear completely worked out. And I know of no poetic framework for holding together a mass that springs up to such a height.
However, you will know what to do.
For instance it was, as I think, appropriate that Faust should be led into active life, and
whatever sphere you may select from this mass, it nevertheless seems to me that his nature will demand too great an amount
of circumstantiality and breadth
As far as the treatment is concerned, I find the greatest difficulty in proceeding happily between what is jest and
what is in earnest. Reason and sense seem to me in this subject to be struggling as if for life and death. One feels this
very much in the present fragmentary state of "Faust," but expectation is led to look at the fully developed whole. The
devil gains his point in face of understanding by his realism, and Faust his in the face of the heart. At times, however,
they seem to exchange their parts, and the devil takes reason under his protection against Faust.
I find difficulty in the fact that the devil annuls his existence, which is idealistic, by his character, which is
realistic. Reason alone can believe in him and it is only understanding that can allow and comprehend his existence as he
is.
I am, in fact, very anxious to see how the popular part of the tale will link itself to the philosophical portion
of the whole."
----INTERMISSION BAR INTERVAL ENDS----
This work is licensed under a Creative Commons License. Chad Deleroix's Act, Part III
Letter From Nürnberg
Scribbler's Pre-note: To all and future formatters: Do not
take out the incorrect-, at first light, -looking quotation
marks around Chad & Sonya's names, when they appear. You are
kind, indeed.
The ceiling was for certain a ceiling, but when 'Chad DeLeroix' opened his eyes, for a full minute he did not
know anything beyond. He didn't know where he was. A young woman with tousled auburn hair, in bed next to him,
slept quietly. Her arm lay lightly over his chest; both chest and arm were covered in coloured linens. She slept
so gently that he stopped his breathing until the futility of his care not to disturb her became apparent.
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Sonya's Dream Sequence Here From This Material?
"A Steinway I Think" A newer, free, open, Dream With
Form which is not to be copied or mentioned
without the consent of Wallace Darwen
Brindle, Memphis, TN [c/o American Fed-
eration of Musicians, {[AFL-CIO] 100%
Union Labor Readymann
(ULR)}
N.B.: This translation is taken from Anthology for Musical Analysis, C.
Burkhart; Holt, Rinehart and Winston, New York, 1964. Franz Schubert used
Goethe?s poem in 1815 when, at the age of 18, he produced the art song
Erlkönig [a dream version of this in Sonya's dream?]
Wer reitet so spät durch Nacht und Wind
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm. -
(Op. 1) Erlkönig:
[Who rides so late through night and wind?
It is a father with his child;
He holds the boy in his arm,
He clasps him tight, he keeps him warm.]
Mein Sohn, was brigst du so bang dein Gesicht? -
Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron und Schweif -
Mein Sohn, es ist ein Nebel streif. -
[My son, why hidest thy face in fear?
Seest thou not, Father, the Erlking?
The Erlking with crown and train?
My son, tis but a streak of mist.]
,,Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel ich mit dir;
Manch bunte Blumen sind an dem Strand;
Meine Mutter hat manch gülden Gewand.
[O dear child, come away with me!
Lovely games I?ll play with thee!
Many-colored flowers are on the field,
My mother has many golden robes.]
Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht? -
Sei ruhig, bleibe ruhig, mein Kind!
In dürren Blättern säuselt der Wind. -
[My father, my father, hearest thou not
What Erlking says so softly to me?
Be still, be still, my child;
In the withered leaves rustles the wind.]
,,Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn
Und wiegen und tanzen und singen dich ein.
[Fair boy, wilt thou go with me?
My lovely daughters shall wait on thee;
My daughters keep their nightly revels;
They will rock thee, dance, and sing.]
Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort? -
Mein Sohn, mein Sohn, ich seh es genau;
Es scheinen die alten Weiden so grau. -
[My father, my father, seest thou not
Erlking's daughters in that dark place?
My son, my son, I see clearly;
It is only the old gray willow."]
,,Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig; so brauch ich Gewalt. -
Mein Vater, mein Vater, jetzt faßt er mich an!
Erlkönig hat mir ein Leids getan! -
[I love thee, thy fair form ravishes me:
If thou art not willing, I?ll take thee by force.
My father, my father, I feel his grasp!
Erlking has done me harm!]
Dem Vater grauset?s, er reitet geschwind,
Er hält in den Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not;
In seinen Armen das Kind war tot.
[The father shudders, he rides fast,
And holds in his arm the groaning child;
He reaches home in pain and dread:
In his arms the child lay dead!]
[CWDB NOTE TO CWDB: see Harold Bloom Ed.: Book on H. James'
"The Turn of The Screw v. Goethe's Erlkönig]
[from A Steinway I THink -- maybe interpolate: S & WG]
"Well?" Tanya's eyebrow imported rare and delicate freight...
at the man sitting next to her with the attractively green-lettered volume.
She'd been careful not to interrupt Warren, but, in actuality and in
factuality - which, as you know, if you too are a traveller of The Time
Strings Net, as was/is/will be Mr. Troutmann, no relation to the Vonnegut
character, is merely a a captured actuality - he was aware; he wondered, as
a matter of fact (getting a little bit ahead of himself, as Netters tend to
do) if he would need to show her - perhaps leave it lying around the divan,
sofa, davenport, lounge, or couch, or some similarly disingenuous artifice
and surreptitious schema, after they were married, in order to have the kind
of life he felt they must experience, (this is how aware of her he was) -
page 206 through 209 of the June, 1998 Cosmopolitan magazine.
"Well what?" He asked her, turning, pretending to suddenly be distracted. "Hello,"
he added in the opening she?d created,
"I'm Warren Troutmann, do you like Goethe?" He
asked, with neither flavor nor favor.
[END DREAM INTERPOLATION S & WG]
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'Sonya'. The woman's name was 'Sonya'. A warm quickening of blood flowed to his brain; they were in love.
He was a composer. This was Nürnberg. The year...the year was 2000. 2000 and he was in love and he, he
luckily was beloved by the beautiful woman 'Sonya'. He, 'Chad DeLeroix', recently appointed to the New
Opera at Nürnberg, and the ceiling were appraising one another. Now, also, 'Sonya' appraised them both.
"I was dreaming then?" He looked at her for assurances, he tried out her eyes to see if they had anything
like tarmac in them.
"Yes, I think it is so, you talked in your sleep quite loudly. There was a... something about Schiller
and Goethe and strudel, you made me hungry so that I had to go and find some treats." There were remains
of a late snack at her side of the bed.
He looked back in her eyes. "...then, after awhile, you seemed to be awakened -- but when you spoke --
and at some length, darling you have too much imagination, I wonder if it isn't this problem -- I could
see you were still in dream." She touched her hand to his cheek softly, soothing her dream animal back
from the jungles of the mind at night.
"How? ...could you tell...'Sonya'?"
"Well, for the first thing, you asked me to come to the door. You sounded in a great rush to bring schnapps
-- because, Anne and Frank Dryfoot had come -- we had to give them hospice and I was to bring Schnapps --
for Anne and Frank Dryfoot. We couldn't know anyone with such a name...'Chad'? So I knew you were in dream
talking. Ja? No... that was not the name...Dreyfus! Yes, this English German housespeaking..." She rolled
her eyes teasingly at her Ausländer.
Chad looked around the suite once more, circumspectly. "...Ja."
"You don't give it any hope of winning, Darling."
"Mmmm?"
"The ceiling. A fan would be nice..."
"Yes, Sonya, a fan...we shall have a fan tomorrow. This is good."
No sooner was the fingerprint lock disabled than the two inconspicuous men were in the flat on
Uberbahnhoffstasse. In another moment, one with handgun, the other his compact gas delivery mechanism,
their well-rehearsed pre-takedown postures were achieved just as they violated the pale, quiet bedroom.
A scream turned to whirling violence-blunted visual gasps. The two men stood above 'Chad' and
'Sonya' heaped on a still-shaking mattress. A moment's clandestine flourishes had the lovers secreted
from the building.
In another moment there was a parting. The darkly-wallpapered wall, opposite their now stilled
mattress, silently opened. Chad DeLeroix and his wife Sonya walked through the opening that was already
closing behind them. [~((SN for philosomancical *see note below* grammatical operations, we do NOT want
/-which-/; we want /-that-/ the delimiting pronoun here. You are kind. W-ed-B.))]
Sonya walked over to a partially-jostled bookcase, a little precognition of sadness... She stooped down
to fish out something on the splayed-book floor.
It was the Martha Argerich, the Rachmaninov 3 revurt, still in its stretch seal, unharmed, unimpinged,
unplayed, 'unspliced' now in her hands. Tenderly, like a needle junkie daubing a tiny drop of blood
from her arm, she wiped the top of the Argerich; then looked back at her husband.
They walked together through the same automatic parting in their navy-patterned wall and, not at all as
an afterthought, held one another, looking down at two chess boards on a baroque carved wood coffee table
in the hidden hallway. The pieces on the loose board had rearranged. The welded pieces on the fixed board
were unmolested. Of course. they did not look more at this than one would nod to a grocer; though one
would, of course.
~^:~^:~^:~^:~^:~^:~^:~^:
~^:~^:~^:~^:~^:~^:~^:~^:
~^:~^:~^:~^:~^:~^:~^:~^:
'Sonya' began trembling semi-automatically in the black strap-in seat next to 'Chad'. They were propped-up
into their real leather confinements; beginning to come out of unconsciousness. Chad was coming-to now.
They were alone in capacious black mobility.
"Dar/..." But, instantaneously shaking his head, he stopped her from speaking. He wanted to say something to
assuage the fear and trembling in her, but he would not allow himself the expedient of risk.
Two men were up front, one driving the van, named Herr Schwarz. The man on the passenger side studied
a computer screen. This was Herr Blau. Both men wore casual clothing and which fact matched well the exterior
of the van -- apparently a large sport utility vehicle -- American make, clean, late model.
Blau was keying something into a swing-shelved padboard.
Schwarz spoke stoically ahead, at the windshield; it was as if he addressed the Central Zone of the city of
Nürnberg. The oncoming bleak sharp shapes of urban stone and steel and glass. "This is your father, children.
I have the materials for your schoolwork. I shall bring them to you directly." And, as he finished, the slightly
audible departing of an electronic presence, a white noise crispness gone, told him there was no response to his
message.
"They want them immediately brought to the Committee Queryroom. The Committeeman emphasized
immediately, more than once."
"Stupid id-yots!" Schwarz defiled, worrying the keyboardist to error. Do they think we are going to take them to
lunch." Then he regarded his nature sometimes to speak incautiously and shut himself up. All rode in silence.
Even so, with the partition behind them, Schwarz and Blau could only assume this, it was how they would have
done if circumstances reversed.
~^:~^:~^:~^:~^:~^:~^:~^:
~^:~^:~^:~^:~^:~^:~^:~^:
~^:~^:~^:~^:~^:~^:~^:~^:
[ON SCREEN OF COMPUTER TERMINAL (furristic design/odd but clear)]
[American Frontier Near Buenos Aires, 2253 C.E.]
A.S. AFA 8000 Col. Talete DZP T h e A l l a n c e S e c t o r
InOpAg //// Wozzeck, Agent
RecipiCen //// Array Commander: Col. Donald Talate, Aurora Force Alpha 8000,
T h e A l l I a n c e S e c t o r Priority Class //// PCq Disturbance Zone PCq
Incription Data Randomize //// [^] ô Ã º \ $ Ñ &laqo; x j m å ? Ø ? [^]
[VOIVE OVER for now but improve this somehow: maybe he, WOZZECK is keying in a letter to...??]
You wake up earlier; make a beaker of Newcoff to the sound of Dragnell Counter-Lasers shutting down for the
night. A Re-uptake Visual Vapor & Precipitate Port Leakage Control near the foundation of the AFA installation
sounds like glass beads crunched between nightmarish giant jaws...diurnal dreams. You Wozzeck, You Talate, bring
into your tertiary AI mind window the Mandelbrot Set... [Resite-org-run<> Mandelbrot, Benoit B., 1979 experiment.
Annals: NY Academy of Sciences 357 (1980) 249 ? 259. Fractal aspects of the iteration of z ® l z(1? z) for complex
l and z.] ...to distract yourself from the grinding. The nightmare giants.
WOZZECK
"I love the smell of Newcoff in the morning." Turns the helmet's audio on to prsPLZply;
[EXCELLENT Sound Q. AUDIO OVER]
an old DeLeroix opera is
on the Everloop. Worn boots go up on the Stand Alone Intellorg. Musing: 'mornings...'
Decode the inmessage still on the Intellorg port, using your own lobeset to aid in waking up. First line is
English, mostly...
[ON COMPUTER SCREEN / jump cut:]
"letter from nürnberg..."
End of Part III
Work On PART IV, Manheim Rocket: 30/01/04
Page/Derrida & Deconstruction--
http://cabvoltaire.virtualave.net/andex2.htm
(N.B.: http://cabvoltaire.virtualave.net/andex3.htm is up; andex4.htm is not up yet, try on the 16th, please,
unless you are preparing for Tyson.)
I
My Angelfire ASCII Page -->[X]
Old Back-up only: members.fortunecity.com/cabvoltaire/chaddeleroixp3.html
--------------------------------------------------------------------------------
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move on 07/14/03 Gentle Reader, We Are [Additionally] Working With Person & Tense -- Not Under Them:
No Regimes!!
Ask Wozzeck, Agent (Col. Wozzeck Talaté)
a/o 01/03/99 a/o 01/09/99 a/o 01/13/99 a/o 01/16/99 a/o 01/19/99 ["ausl[]nder".]
[Faust was down-devil -- is perception/symbol of devil 1999 The Alien? per Faust? We have here:
Good -- Evil; East -- West; Christ -- anti-christ; down -- up; intro- spection -- universe/space/other.
Past/Future-~/Present?/
Was ist das? Das ist sicher eine jumbo ["yumbo"] matrix fleigt wir an!
"Saga" is the exact right word to use alright, K.O., how did he know?
Stay up "tight" and personal, nevertheless. W-ed-B][consider this (my) neologism: philosomancy ((!))
There is a particular CD I own.
(Not Named) I would verbalize the music on it thus: Hauntingly Everyday.]
pi_0
pi_1
pi_2
pi_3
pi_4
pi_5
CabVolt, The Fourth Contender of Three, Potpourri Planet
CabVolt, The Fourth Contender of Three, Potpourri Planet
****Chad DeLeroix's Act, PART II, Entracte Berline****OPUS ONE @ Wallace Darwen Brindle 1998