Scene: Haschisch (@les laboratories) unspecified place.. in dark room
actors: Alfred Jarry (AJ), ibrahim (I), and Pawlowski (P), -( Phyast /in the text/ was Gaston de Pawlowski, cycling friend of AJ, author o "voyage aupays de a quartrieme dimension, plublished in 1912 and in periodicals 1896, cited by marcel duchamp as one of hte sources for "large glas"), a woman (briefly) with dog ((who wants to volontueer for that role.. somebody from the labo... would be great -- I would love to have everybody in it... for example Yvanne or Julie...or rebecca... or sandra.. etc... ))) location: les laboratoires, big hall , looking like on the floor, darkish,, pills... scene orientalist..candles, smoky.. books.. props: tables.. etc.. salon.. absinth... bootles.. drugs. hashish.. pills.. chemistry.. stuff.. exprerimenting.. GUN (BULLDOG, a dog, bicycle, there is also a penis statue.. described once we have to make out of black wax used for making bronze, = duchamp wheel, a wooden cane, a tri-color lamp to be burned at the end., diagolgs: taken vom Les Jours et les Nuits - Days & Nights, book V, chapter IV (assassins talk) ...green text is RG modified
everybody lies on pillows and his bed. (a mattrasse) - smoking, and making joints and a woman comes by (figurante) with a dog.dog is running all over the bed , disturbes and Alfred Jarry (here taking hte role of Nosocome) jumps and freaks out ... after a minute or so.. - camera filming all the trash and mass .. the books etc... , duchamp wheel Ibrahim doing preparing pills.. all taking bizarre stuff, bicycle chair play.. some gay touching, burniing of lamp at the end. taken and expanded from the Day and Night text.. book 5, chapter 4 assassins talk/haschisch ...
AJ I want neither whores nor dogs in my home, least of all whoring bitches; (screaming) manhandled beast and girl out of the door! the woman and hte dog are kicked out... and he takes up his chatter... , he looks at Ibrahim making his pills (he actually acts a bit like a chemist.. making pills iwht water and dough and power adn a little burner).. AJ takes some pills and gives it to Pyast and sengle. AJ: here is Hakim (meaning the pill - from a story 1851 on haschisch, giving the pills to Pawlowski (P)) a eucharist of hashish-pilules. AJ: In eighteen hundred ... eighteen hunderd thousand .... till.. vile billions of pills. P: thousands of viblions of pill-boxes. AJ: An elephant in a block! you block-head .. four elephants in a glass box. P: A simpleon always finds another only more so.... AJ: He gets simple like that, in his cups. Here's a free verse in the sample. P: He's no need of bottle, he cleans himself out with an arse-glass of free wurst. AJ: That's crazy. I've not seen it, no ... P: That's crazy and i think he broke the glass panel by himself. AJ: And he wears wet flannel and biked. P: Flannel's like corns on your feet, no on wears it anymore. AJ: as from tomorrow you all wear flannel. P: From tomorrow ? we'll never get out of today! AJ: you 're linking cause and effect? you're taking your head in your hands. P: Let's explain ourselves in the Paris of words. AJ: the base is the flame. And you are in the middle of the shadow or the light. he is playing here with the shadow of th:e Duchamp wheel... AJ hands start also to carresse P. P: in the middle of what? AJ's hand move towards P's leg and P continues: In two or three hundred years perhaps. AJ: your likeness is natural. AJ gives him kind of a kiss.. caressing him more... P: Suppose we stick up posters of bicycles or of chairs or bicycle wheels on chairs? AJ: you mention flame, I believe, the wheel as a flame? you are in the water, you are wet. P: Are you penetrating two things at once? AJ enteres a bit his hand into the pants.. playing.. In the middle with two paper hoops... i think .. in the middle, with... AJ: Su-cess-ive-ly, I found it. It was sitting along the line of the fields AJ still fumbles and now lets him go.. now.. with kiss on his head.. and a smile P: , so we had back to the road. AJ: But if you were in the middle, you couldn't anticipate that. P: there are schemes which cannot be sinuous. AJ: That's fifteen years you 've been explaining something to me. P fiftheen years? AJ: You trying to prove something? P: shun nohting. AJ: Now then, in your smugglering, could you trim your words? P: polish morale AJ: polish mural...? you all but said long live Poland .... p: you are a Russian foot, a foot and a half. AJ; take that back. P: I''ll take half back and you'll be left wiht three quarters of a foot. Ha ha! I've lifted three quarters of his foot. you're a foot, and a corn on a foot, so you're a madrepore, madrechaun, coral paw! conclusions, you don't grasp it, you foot-corn. Ibrahim (entering the conversation): I have five corpses at the end of each foot and a bicycle wheel! P: You are a brain informer. You've the obelisk in one finger and a corn on your foot. Ebonite in one little finger .... I : what quite? P: Ebb-at-night. it's not a fish, the Holy Ghost, so it swims in holy water. The holy ghost's a goldfish. Elegance is an advance. from the back forward. I: - elegance is a pederast, so bikes are gay? - AJ: in the front to backside sense. P: What's its universal suffrage? Universal suffrage is when one spends a sou each day on a daily newspaper. There's The Times and the daily The Day. That makes two dailies daily. I: and how much time? AJ: How can he perceive a thing so much greater? he scathed himself. P: If you had a beam in your eye... AJ: We all know it depends on the size of the beam. P: Does that seem obvious to you? You don't trust the evidence of a beam in the eye? One can't change the printed word. AJ: he scathed himself. I: out of some illusions and confusions: hang yourselves up! AJ: by the way, pats perish and nobody knows why? P: is that true? AJ: the chief of police as well P: into the ditch. Awkward pitch. AJ: D'you do horizontal bar work? P: He correctifies corns. Corns and carbuncles are walking nails AJ: Fairly like general paralysis. P: Fairy of general paralysis? I: Oh, the nails? the green nails! they're sinking into me.. P: you've a nail in the sole of your foot. It's also the plank of salvation, the last hope. With your stick you're the old man of the woods. If you're the old man of hte woods you're the plank man, an orang-outang hubbub, adoobarb. AJ: A kiosk where he bar-barks. P: gesticulating: Tree-man, come and be arborous with me in the amrs-room. AJ: four woodsmen and a wooden corporal. P: Ha ha? a wooden corporal! More like a garden gnome. AJ: arcNa ambo I: oh, dear Monsieur, AJ turns now into the old woodman: I am the old man of the woods , nine hundred years old.... and old stick falling through the substantial aether.... ... he gets up.. takes a cane and walks continues: I've ice around my cane. Oh! its turning. You turn my ideas but my ideas aren't round. Pentagonal. The pentagon is comprised of straight lines. An idea's not a path, it's not sinuous. It's a join, that, a re-soling.... he keeps being a bit aggressive and throws the baton around him. then he starts up again: (everybody a bit afraid and in protection) oh, I'm lost, these nails.... the nails, the ice. come now, let's see , green nails. AJ: addressing himself to the rest Are you watching me, monseiur? ... Oh he's kicked me with his shadow... again playing wiht the Duchampian bike wheel. he halts again and accuses the rest: Ah! you 've demolished my smell I: Monsieur, open up, he's dead. What have you done with this intestine? P: his intestines are hailing, let them burn. I: you've reeled out the dead man's intestines off the funeral train and wound them onto a bobbin. why do you unreel spools? He reels out bobbins at the at the bike race. AJ: He has small instintestincts. P: I knew a mobile called Pompoteau. Pompoteau, moible; auto, mobile. .... AJ: What? P: My daer friend, there are three what, there are three what, there are three....? It's the way a duck speaks French... Who's... Canal, what 's passing in front of you. You're spilling, you are gonna piss soon. AJ: I wasn't spilling out. P: It's a parallel with the canal. You're paralle to the canal. what a wretch, he's fathered your folly. (so funny the relatinshiop between canal and ganahl) AJ: He fathered me fully on the bicycle of your bollocks. P: He fucked you on the bicycle? AJ: get on with you. The condition for two parallels to be parallel is that they are in opposed directions. P: But speak for the resultant. AJ: It's your parlalleliresultant. P: What a bore? no result from it. Do you want a salad of spectacles? I: looking at his finger: kind of hysterical: O nails, that's not made of glass, pull out the nails, o the little car-car clowns, corny-clowns, ... AJ: a hell must be a sort of a rest, since one wouldn't know what to do there. P: You see how smart he is . Caricature! AJ: Hell's not a pain in the arse.. P: since it's the only thing possible. ... AJ: ... Hell is ten-dimensinoal space. P: skip your dimensions, at least nine of them are honourable, including the bicycle one. AJ: there are three, then the pit... P: the lyre, the harpe. starting to play harpe with hte bicycle wheel AJ: the time ... P: and conversely. the present has spatial dimensions. AJ: Logic is the hammer of reasoning. P: Logic that kills. Hey, word-guzzler: Rhizomorhododendron AJ: I expose myself rhizumed in public places, together with this bicycle, it is spatial and present P: he ... nothing. AJ: sipping caffee: Coffee goes down because it has a few niceties. P: are you frying eggs? AJ: to I : stop him throwing himself out. AJ retrieves a flag, rolls up two thrid of it , wrpas the last third round his waist and shouts: The Americans are here! I: what if we burned their flag for all the wars to come? P: the flag is eternal because it's the motherland I: this saves the trouble of burning it. A tricolor-striped paper latern is discoverd and lit. P: the lantern is a luminous hole wiht a flag around it. END OF SCENE
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