In the dream

i detect i am somehow involved in the production of a film which combines two films of differing period by joseph losey, namely, the accident, and these are the damned, but with certain references to other films as well. i am close to the director who vaguely resembles sterling hayden, except with a slightly more elevated 'received pronunication'. i'm not his direct assistant, but something more strange, a kind of amanuensis of the absurd, an erstwhile bohemian script tweaker, yet strangely, there isn't much i can do, as the script is just rather appallingly square and seems to resist most of my suggestions. I do however get some of my changes in, for instance, the pipe-smoking white haired elderly dirk bogarde is lost in the ragusan canals in a sleek black wooden motor boat with the radioactive cricket-player and aristocrat michael york (subtly posing as the figure of the dying gaul for a moment in jest) discussing the inequalities of fate, when i have mr. bogarde recall a line from one of pindar's fragments: the earth is the lord's, and the fullness thereof; nothing is to be disparaged, nothing to be made different, of all the boons of the glorious earth, and of the rushing sea. to which mr. york responds: time is the best of champions.. and then i have them say in unison: to these fragments of uncertain class; and then give a small chuckle. and it seems to me that these are the only lines that i have been able to actually get into the film, which doesn't really anger me or anything like that as i am just so excited to be working on such a wonderful production. later in the film though, much later, i do finally get another suggestion to stick; the addition of a medium sized silver ankh brooch to viveca 'shirley' lindfors-field's blouse in a scene where dirk bogarde the charming but aging professor has spirited away the anti-ingénue sculptress from the enormous country home and underground radiation research facility owned by alexander knox who has them secretly followed by a robot he calls simply 'box'.. And in my final absurd 'coup de grâce', one which while drunk i convince the director is his own idea, i create the perfect ending; after the whole arc of the film dirk bogarde's youth has been restored through the use of a revolutionary radiation therapy and married the sculptress, and it is years later, and the professor is bringing their children in from a sudden rain, and across the street is what appears to be an old woman in rain gear with an umbrella though the rain has just begun, and then the camera closes in, and it is oliver reed, the sad and forlorn villain from ragusa who says: we are rivers crowned with vocal reeds; and then he turns and walks away, and then we hear the sound of a car horn, of skidding, and then a crash, an accident, then the credits roll.


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