You're collapsing the story . . . but why? . . .
Why this segue into alienation
with voices at the back door? . . .
No, not gallows humor, not just yet . . .
You have come too far to fear the end . . .
of course, it's all about coming
at the drama from a distance
all stops pulled out
the perspective just that
and, what, you're trying to reel it in? . . .
You do recall the reshoot
after several lines had been cut
leaving you at loose ends, yes? . . .
a kind of detachment
even about the most intimate of details
fanning out like a stacked deck of cards
with the magician asking you to pick one . . .
There's more to it, sure, but let's not, not now . . .
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| Antonio Palmerini |