Dialogue list, spoken words and text that appear in the film. With indications of characters (single letter).

S: -When I first came here, it was as if time skipped sideways. People, greed and buildings were being jumbled all over the fucking freaking place…..
S: -I was trying to see where I was at, you know, but my memory always presented
things differently than the physical reality of the place.
S: -Even after only one day, things looked different. It was as if the city was a maintenance machinery for capital:
S: -Like in a secret movement of money; a building or a whole section of the city would change slowly, —for then to be left on its own—like a skin that had lost its protective sublayer of fat.

S: I turned, so did she,
it was as if she was afraid, of me of you of whatever .
I had only followed her down the street when I realised that
she looked a lot like you, like frank like all of us.
—perhaps she was a cop.

I was waiting to see if something could develop
like a story about her,
an explanation about why she kept appearing in our lives.

But I found no leads, nothing developed, —I knew I would never know this person.
There were these flickers of rememberance, from May day, from the barrier, the eyes
and a uniform? Did she see what I saw that day, but from what perspective. How would
we negotiate each other in daytime, in the every day? Are we both professionals, and
then what are our personal involvements in this —what are yours?

S: -I am happy to see you

O: -what, well thank you, why?

S: -we haven’t had the chance to really hang recently, will you break it to me,
—why you have been so distant?

O: -No, not really, it doesn’t have anything to do with you anyway.
It’s something that happens because I am tired and I loose concentration

S: -Have you been to the compound,
the state, the bridge, recently?

O: -well yeah, whatever, why do I suddenly get all this attention from you?
when we talked and talked those nights I always had the impression that
you were thinking about other things. Like about how bored you were,
how you wanted to get laid, or how you couldn’t make me shut up,
-or accidentally how you really really had to say your point and
couldn’t wait for me to finish. For fucks sake

S: - (pause)We are not meeting anymore, going anywhere, I feel really alone. I am the only one I know out there in public. Whats up with that, is your time so overvaluable? What about some loyalty O? We don’t even know who you are anymore.

O: - I would like to see where you are in relation to me, —all of you, —but I can’t tell,
—I can’t find the spot where I am at or where to place myself. It is not just in my mind
anymore either, look at my body for fucks sake, it is splitting lengthwise, from my head down, like a tree hit by a lightening bolt [too many]. I feel fried, —and everywhere I feel that Bushenite glare. It makes me nausceous and disgusted with food and sometimes eat too much —still disgusted.

S: -I hear you, —and you sound like a singular piece of displaced want –a piece of work.
—Then what do you do? Why don’t you put some more words in your mouth and taste
them, see if you feel something, or if they are all cold on you already like you are on them.

S, VOICE OVER: I am often afraid of you, before you wake up I am anticipating what
mood you are in as you wake up. From the first sounds you make, I know if you are angry or not.
From the way you move I know if I can meet your eyes or if I can transverse your space –even though of course I cannot help from doing that anyway... And I know I will pathologically try to make you tea, coffee, go and shop what you need or whatever. I will run down the street and feel guilty for what is not even my responsibility, —partly out of care, partly out of an attempt to ease tensions and make the day livable for myself, to avoid already those first moments to tear down the whole day and all I needed to do in my life that day.

I tell myself that I have to be really strong and make myself larger than this in order to not drag myself down or reiterate the problem, but I am worn out too a lot of the time, —or longing for company and intimacy —and I don’t have the strength to put myself anywhere except in the middle of the problem and fight it, as irrational as that is.

The funny thing, or what suprises me is that you show no sign of even a little doubt, you are so violently secure, —and anyone else is in your way.

O: Hey, what the fuck, so much stress for something so inconsequential! Why don’t you steal something more, something better, deceive the system or something. You’re just a part of everyday economics.

D: Well whatever/ right…….

A, voice over: In one hundred sentences, this book of night
stretched halfway between black star and tangle
finds no cure for dying love.

O: -In any case, the border is a state of society;

WRITES/SENDS SMS MESSAGE: HERE’S THE PHONE TERRORIST, KISS

O: -Flirt like this, unseen and with unbearable tension in every ambiguity. You become a fiction or just a possibility. If I sit here long enough, perhaps the city will open to me
through this border between fiction and reality.

O: …..crossing one, becoming one, study one, —curse or dream of one or submit to one,
—in each case the border is a state of society –which itself is a state of mind, a state of politics.

RECEIVES SMS MESSAGE: KISSES ARE COOL TERRORISM

O: -In the end it is as if it’s all driven by seismic activity, deep long waves subtly but forcefully displacing our sense of ground, nothing quite as scary as that, like ripples that are moved by a force that is out of your control.
(Pause) Anyway, this city is the house of these perversities, the money, the exchanges
that people do —in their fucking mishaps of ways of trying to deal with their wants……
What sacrifices don’t we all do just to negotiate between our different desires (like
between the desires of obedience and disobedience), —well but then—not to sound so
like self pitying Goth or anything, —suffering is sometimes all we share.
O: These hues of grey and white, people kept hurrying by, not without a great deal of
trouble were they achieving a passage from fantasy to reality. Whatever —there are
more ruins to this city than to you.