final exit – in holy trinity
3-channel projected installation with screen constructions
6 + 6 + 6 min
S-35 mm / 1:1,66
6-channel audio
FINAL EXIT – IN HOLY TRINITY
3nity: Father – The Past, Son – The Future and Holy Ghost – The Present
#1: Father – The Past
—————————————
Spaghetti western landscape.
Silence. Wind. Rolling bushes.
Irritating noise. Fly. Disappears.
Sand. Round figures. Unrecognizable.
Train. In distance. Hot.
Fata morgana... Clears.
Sand. Round figures. Recognizable.
Heads. Visible. Men buried. Alive.
Sun. Burning. Hot. Dry.
Arrival. Station. Dust. In the air.
Wooden platform. Boots.
Landscape. Main street. Long.
Figure. Approaching. In the distance.
Black. Long coat. Wind.
Silhouette. Reaper. On shoulder.
Sand. In the air. Wind. Clears.
Heads. Visible. Men buried. Alive.
Sun. Burning. Dry. Hot.
Silhouette. Approaching. Morricone.
Arrives. Reaper.
Silence. Swings.
Head. Rolling. Disappears.
Swings. Again. Rolling head.
Swings. Not only once. Reaping.
Heads. One-by-one. As long as they last.
Spaghetti western landscape. Whistling.
Rolling heads. Wind. Slowing down. Both.
Sand. Round figures. Recognizable.
Silence. Dust. Heads. Still. Hot.
Silhouette. Disappearing.
In the distance. Vanishing.
Reaper. Fata morgana.
Sand. Gray. Blood. Red.
— Matching.
#2: Son – The Future—————————————
Science fiction. Future past.
Clear sky. Metal and glass.
Automated correctional institute.
Inmates on assembly line.
Pre-coded punishments.
Example sentence.
Minor offense.
All limbs cut off with guillotine.
Surgical wounds plastered.
To avoid hemorrhage.
Bodies thrown to the ground.
Out of the institute.
Alive. Not kicking.
By automated export line.
Wasteland. Not silent.
Non-capital punishment.
Justice done.
Later.
Night falls. Silence.
Homeless artists.
Collecting limbs, recycled brushes.
Tagging with human hands.
Graffiti with human legs.
All red. To change color.
Inject alternative pigment(s) into veins.
— Ready for great murals.
#3: Holy Ghost – The Present—————————————
Man. 35 mm clear celluloid leader. Film editing table.
Dressed ceremonially. Experimental filmmaker’s traditional outfit.
Starts to swallow film. From a rusted can. Feet after feet.
Takes a prepared Tanto knife. Cuts film.
Ten feet of clear film. Visible. Out of mouth. Unswallowed.
Long moment. B/w Mishima. On the wall. Pause.
Plunges Tanto into his gut. Slices horizontally. Then vertically.
Swings Tanto in his stomach. Silent moment. Puts Tanto on the film can.
Drags leader out of his stomach. Pulls more. Ten feet.
Takes both ends of film. From the mouth. And stomach.
Places them on film splicer. Makes a nice joint.
Puts film loop on the Steenbeck editing table.
Falls to floor... Reaches out for the handle.
Turns drive on. Relieved. Whispers his death poem.
Film moves slowly. Tugging. With variable speed.
Clear film leader moves in. Processed film comes out.
Corpse. Music concrete. Brilliant display. Abstract colors.
Music continues. Ever-changing, altering colors. With every round.
Zoom into ex-clear film leader. Cinemascope framing. Eternal loop.
— The Miracle of the Holy Ghost.
[See alternative version as Celluloid Seppuku – The Last Masterpiece]