leaving the theatre, he tapped, twice, the hood of a parked police car, lifted lipstick from a drunken woman’s purse and squared himself in a store window before shooting himself with his hand.*

his first film, completed, by the time he was eighteen. roundly praised. from there, a many colored thing. russian women, guns under suits, and cameos of indians with indian names. at twenty three, nostalgic for twenty one, his seminal ‘my white father’ wherein a mute albino would be upstaged by mimes. further brilliance followed. mostly in quotes, such as “babies are full of grief”. women ate from his hand and their eating progressed. one woman in particular became trapped in a man’s body and he married her. a child they tried not to have soon arrived and brought with it a list of demands from the others. the woman divorced him and took with her the man. in the midst of attending to the list came the advent of black and white which added a much needed plot to his smoking. his peers double crossed each other in small houses. he himself was able to get away with punching a young girl for the right to drag a sled. his child began to accept talking toys in exchange for keeping quiet. in 1973, his doctors, grey from vietnam, convinced him to go under. his last film was silent, and many complained about the lighting. he cried, in his mansion, for the windows he did not put in. he would not often entertain tourists but when he did they asked about his mother, her ghost, and if the east wing was really haunted. he would on those late nights produce a letter his mother had sent him only yesterday.

he was in love with his sister, always had been. after she was mauled by the dogs he had set out for his father, he made walking his home. every now and then a hotel of running. last year, he caught a movie one had made of his life and though he missed the dedication he did not

the death row scene, the little saw his mother used for the cake, the mysterious basket moved from bike to bike.