Suppose Beautiful 
Madeline Harvey
2024; The MIT Press; Volume: 46; Issue: 2 Linguagem: Inglês
10.1162/pajj_a_00718
ISSN1537-9477
Autores ResumoOne of Object Collection's earliest performances, in 2004, was an excerpt from my found text-collaged script Is This a Gentleman? performed at Richard Foreman's Ontological-Hysteric Theater as a part of their downstairs work-in-progress series. This was the beginning of a long history of concentric circles of artistic activity which involved Object Collection, Foreman's work, his theatre at St. Mark's, and many of our collaborators. Suppose Beautiful Madeline Harvey began when we approached him in 2022 and asked if he had been writing anything recently that we might adapt into a new Object Collection production for our twentieth-year anniversary. This project marks the return of Foreman's work to the stage with a new play for the first time in ten years.He sent us a large collection of texts, but one in particular stood out—about a woman named Madeline Harvey, who steps off a bus and encounters Roger Vincent, and in that moment sets off a seemingly endless spiral of deliberation, reflection, and paradox which lasts both an instant and an eternity. Reading the text, I was taken back to my experience of watching his plays in his theatre, which, for me, always managed to hover in that uncannily familiar zone of the perpetual present. The original text was composed in a kind of verse form without any assigned dialogue. As Foreman explained in conversation with the company, "Madeline was not written as a play, which is no reason not to do it as a play. I think texts that are not plays are better staged now than texts that are plays. I remember that there was a whole period there where I was just pouring out language and this was part of it." Where did the idea for Madeline Harvey originate? We know that the character of Roger Vincent references a Patrick Modiano novella Suspended Sentences (written in 1988 and translated to English in 2014). But the text, according to Foreman, was written quite instinctively, starting with the character of Madeline, whose story serves as the unifying thread for an ecstatic examination of the relationship between existence and memory.For the adaptation, I began with a lengthy process of mapping out the many iterative narrative coils. After this, I suggested a character breakdown—the main focal points of Madeline and Roger, along with their two reflections/doppelgänger Rita and Stephen, and an additional four members who form a sort of chorus. From there, I set out to distribute the text among them. Noting Foreman's comment that "any good dialogue should be a dance," I had the dominant narrative voice bounce and drift among all eight characters. Developed over two years, Object Collection's production will be directed by me and the text itself fully scored in vocal notation by Travis Just, alongside an instrumental score. It will premiere in New York City at La MaMa ETC in the 2024–25 season.Now as I write this, I sit waiting for our rehearsal to begin, staring at a disorderly pile of rehearsal furniture, scattered microphones, mirrors, and bins of mysterious props: the sacred relics of a theatrical ritual which we will configure and reconfigure, layer, and disperse. Object Collection's work, while much influenced by Foreman, of course, has a very different look and feel. We share his inclination towards density, albeit with a different toolbox—musically notated speech and action scores, for example. However, the crafting of radical, unconventional experiences, and the insistence to do this project after project, is something we learned from him and endeavor to carry forward.Kara FeelyCHARACTERSMadeline HarveyRoger VincentRitaStephenRichard (voice)CharlesLouiseRenéBertrandRITA: Suppose beautiful Madeline Harvey didn't believe that she REALLY DID EXIST? Suppose she believed that she didn't REALLY exist? Holding on to herself as her body starts shaking? Madeline Harvey imagines the following: she is walking down the sunny boulevard in her new polka dot dress with the skirt that flares out, the way it should. And holding a small leather pocketbook which she anxiously clutches to the side of her body while smiling a faint smile? While simultaneously—in the crowd occupying a café along that wide boulevard . . . she catches the eye of an appealing someone? And she thinks to herself as she stops—with her back to the sun . . .MADELINE: Here is the one who will certify to my existence.RITA: Smiling faintly as she stands still, with the sun behind her head making her hair frizz like a golden halo? But the crowd on that boulevard is moving past in all directions at once while Madeline Harvey still not moving, with the eyes of that man still upon her, as slowly—very slowly . . .MADELINE: . . . like honey dripping from a silver spoon into a cup of frozen tea?RITA: Her physical self then and there dissolves like a slow fade in front of the motionless eyes of a seemingly paralyzed consciousness? But the actual disappearance of her physical body—could this INDEED HAPPEN?MADELINE: My small and delicate body melting into that world of sunlight which is now blinding me, as I turn and it shines directly into my eyes? But so blinded . . .RITA: Would Madeline Harvey exist at last? Or would it be necessary for her to keep telling the story of a much better life hidden inside her own lifetime—even when she didn't really exist?RENÉ: But if that were true . . .LOUISE: SHE DIDN'T EXIST?RENÉ: Would those stories still exist? And who would it be who was actually then someplace still existing?RITA: Imagine Madeline Harvey alone in a room, when suddenly and spontaneously, her whole body is on fire. And within seconds her entire body—consumed by flames burns down to pure ash. All but a single left foot in a singular red shoe completely untouched.LOUISE: THIS COULD REALLY HAPPEN!RITA: And it HAS already happened to a few fortunate bodies—burning to pure ash in a similar PURIFYING fire. And when that does happen to someone, then which stories above all others would remain untouched—much like the single left foot of Madeline Harvey herself? With her singular red shoe. And if the remainder of her body began to shake while many other still untold stories were crying out . . .BERTRAND: "Knock-Knock-Knock! Can we come in please?"RITA: But even then, would one continue to exist? Or suppose, for instance that the beloved Madeline Harvey was in bed at night—and alone in her bed began shaking—her whole body violently shaking. Would that mean that she really DID exist after all? Or was never EVER fully existing? Choose between alternatives by quickly telling oneself a true story that itself might have no great importance—yet in itself has GREAT importance because it really MIGHT have happened.STEPHEN: Would that mean therefore that if handsome Roger Vincent were to tell such a story . . .RITA: Then beautiful Madeline Harvey herself might well exist. But would this be of any real importance to still nameless people hiding in the same room with many others? Remember, if Madeline Harvey were to disappear by fire?MADELINE: Or alternatively disappear by time slowly making me melt into the sunlight?RITA: Or if beautiful Madeline Harvey were to disappear at last into her very own story which she is now telling herself in order to stop her own body from shaking? Remember this above all, however. Madeline Harvey will never exist more than she exists at this very moment.MADELINE: So she must now choose which of the many options of disappearance will be the one she will choose by asking the world itself . . .RITA: . . . on her behalf . . .MADELINE: . . . to make this important choice?RICHARD: Suppose beautiful Madeline Harvey—surrounded by her dearest friends . . .ALL: Surprise!RICHARD: . . . in a world . . .ALL: This world!RICHARD: . . . within which the depth and intricacy and apparent solidness of this same world were REPLACED by a very DIFFERENT world in which ALL human beings were, well, so to say, paper-thin somehow, minus any enfolded depth. Mere surface alone, even if that surface seemed so clever and quick about the intricate ways of that same-such world. Which still had, you know, NO DEPTH? But suppose this only meant the scene of the action was now ELSEWHERE! No longer with human beings as such but, you know, ELSEWHERE! Even though this new THIN kind of being still participated, as of old, in many actions that were now "Elsewhere". As if within some fluid atmospheric field between people—which was now the place where the action was now taking place. No longer inside these very THIN human beings—instead permeated by some FLUID that enabled humans to now float on the surface of all things all the while BUFFETED by the "Elsewhere" of a LIFE FORCE operating in new and unexpected ways on the surface of these people now lacking all inner depth. AND SUPPOSE it was really like this with people, HERE AND NOW?STEPHEN: And now, the handsome Roger Vincent holds his head between his two hands while trying not to smile. But does handsome Roger Vincent ever dare to be really so exhausted?ROGER: Treading water in the vain hope of swimming backwards?STEPHEN: Because Roger Vincent's life has been stolen from under his feet.CHARLES: And he must first of all protect his eyes somehow because all things HURT when seen for the first time!STEPHEN: And though catastrophe therefore might well be hidden—just around the corner? Roger Vincent will turn the corner of course but he will never see it. And therefore, he will be happy.ROGER: Even if sometimes I feel like crying.STEPHEN: Because he knows his deepest wishes will never be granted. And even the handsome Roger Vincent with sadness does accept that while secretly remaining hopeful? Therefore, the handsome Roger Vincent waits in a properly designated café for beloved Madeline Harvey to walk down the street in his direction—with the sunlight behind her so bright that the handsome Roger Vincent thinks to himself . . .ROGER: . . . looking into such a light might render one completely sightless!STEPHEN: And thank God! So blinded, handsome Roger Vincent would feel at last he was at last indeed . . .LOUISE: ON FIRE!STEPHEN: And then—AT LAST—AT LAST! The beloved Madeline Harvey for whom handsome Roger Vincent has been waiting patiently is seen stepping down from the bus as the door of the bus opens with the beloved there appearing suddenly transformed into the image of that child she was in years long past while carrying a little red suitcase that suited such a child who now, in the true shape of the beloved right now—seated at that very specific café table where refreshments were ordered suitable both for the occasion and for that child—MADELINE: Beautiful Madeline Harvey forever.STEPHEN: Does she smile as only a child can smile while looking directly into the bright sunlight? Already having decided to open her little red suitcase—to discover inside the very same dress that both handsome Roger Vincent and the beloved Madeline Harvey hoped against hope she would be wearing. And suddenly the beloved Madeline Harvey is walking down the wide boulevard. But then . . .BERTRAND: . . . like an electric SHOCK!STEPHEN: Two pair of eyes meeting. While wearing a dress much too large for that little child Madeline Harvey—now seated beside Roger Vincent. And as that beloved Madeline Harvey—already wearing that polka dot dress, begins to disappear under the eyes of the handsome Roger Vincent, but vanishing into a very different space and time, into which Roger Vincent believed he had been forever denied entry? Though in fact handsome Roger Vincent himself did ALSO EXIST unbeknownst to himself inside that unique time and space.ROGER: And very slowly handsome Roger Vincent comes to understand . . .CHARLES: . . . THAT HE DOES ALWAYS EXIST.ROGER: Burning inside with the . . .CHARLES: . . . ONLY REAL FIRE . . .ROGER: . . . burning inside all things?MADELINE: While Madeline Harvey is imagining the following? Walking down the sunny boulevard with the polka dot skirt that flares out like it should, while holding a small leather pocketbook which I anxiously clutch to the side of my body while smiling a faint smile? And suddenly, in the crowd occupying one of the many cafés along that wide boulevard, I catch the eye of the handsome Roger Vincent—and I think to myself as I involuntarily stop smiling—my back still to the sun . . .RITA: "This is that one who will certify to my real existence."MADELINE: And Madeline Harvey stands there, again smiling faintly, with the sun behind my head, making my hair frizz like a golden halo, while the crowd on the boulevard is moving past in all directions at once, but there is one only who does not move, and the eyes of that one man—handsome Roger Vincent are upon me as very slowly . . .RITA: . . . like honey dripping from a spoon into a cup of frozen tea . . .MADELINE: My physical self dissolves, disappearing like a slow fade in front of handsome Roger Vincent's motionless eyes. Hypnotizing his frozen, wide-awake stare.RITA: But the actual disappearance of the physical body of beautiful Madeline Hardy? Could it really have happened? As if melting into the world of sunlight always behind her body?MADELINE: And would it then be necessary to keep telling the stories of my life inside my own lifetime?RENÉ: So even if she didn't exist . . .LOUISE: Did she exist?RENÉ: Would those stories still exist? But then, who or what would it be who was really existing?MADELINE: If Madeline Harvey was existing alone in an empty room, when suddenly, spontaneously, my physical body caught fire! And within seconds, my entire body was consumed by flames and turned to purest ash. While all that remained untouched was a left foot in a bright red shoe.RITA: Unbelievable, but this could happen. And it has indeed happened to a few bodies—that pure fire. But when it does happen what stories remain untouched? Like a left foot in a red shoe?MADELINE: Is that why my body is now shaking and so many different stories go . . .BERTRAND: "Knock knock knock! Can we come in please?" Do we still EXIST. Please?MADELINE: Suppose Madeline Harvey was asleep in bed at midday when suddenly—my whole body was shaking in its sleep without me ever awakening? Would that prove that I exist or that I do not exist. There is no way to know for certain. Unless waking from a terrible dream—or even better, tell oneself an imaginary story that has no real importance unless . . .LOUISE: IT REALLY DID HAPPEN!MADELINE: But would this mean the beautiful Madeline Harvey exists FOREVER? Or NOT FOREVER?RITA: Possible answers—if she disappears by fire—or if she simply disappears by time slowly melting her into a void against the sunlight?MADELINE: Or if she only disappears into her own story which is that story the beautiful Madeline Harvey now tells simply to stop her own body from shaking? And therefore, Madeline Harvey never exists more than she exists RIGHT NOW.RITA: So, which of many options is the option Madeline Harvey choses RIGHT NOW when she lets the outside world by itself make that important choice for her—THE WORLD BY ITSELF CHOOSING?RICHARD: Just suppose it was the case that the beautiful Madeline Harvey was surrounded by clever people, in a world in which the depth and intricacy and solidness of the world itself and of her fellow human beings, was replaced by a world in which human beings were all, you know THIN somehow? With no enfolded depth, nothing but surface? Even if that surface seemed clever and quick about the ways of this world. But, nevertheless, with no—you know—depth? But suppose all that meant was that the scene of the action was elsewhere, no longer in human beings as such, but you know—ELSEWHERE? Even though this new thin kind of human being still participated in that action which was now ELSEWHERE. In some fluid like—ELSEWHERE. Like in an atmospheric, or even spinal fluid externalized, and somehow shared by all people—and that's where all the action was now, unbelievably, taking place. Not inside the now so-very-thin human beings, who were now quite LIFTED UP by this externalized fluid, simply FLOATING on its surface, there to be buffeted still, by the forever "elsewhere" of that ETERNAL life force operating as always in unpredictable ways. And just now on the surface of these new people who contain no depth whatsoever? Suppose it WAS like this? REALLY like this with people—here and now?STEPHEN: Imagine that Roger Vincent was given such information, what happens next? The handsome Roger Vincent holds his head and smiles, daring to be exhausted because Roger Vincent no longer believes that he belongs in such a world where the people surrounding him have speech patterns like idiots.RENÉ: But do people speak like idiots because people are idiots? Or do people choose to speak this way because speaking this way can sometimes produce a more intense mental resonance?STEPHEN: Or does handsome Roger Vincent hold his head in an effort to solicit adventure by losing consciousness? Which is inevitably accompanied by that inevitable catastrophe which always includes at least one more OPPORTUNITY? It does happen sometimes that, with no desire to leave his familiar neighborhood, handsome Roger Vincent involuntarily finds himself in a still more unpleasant environment.ROGER: Where am I?STEPHEN: . . . asks Roger Vincent—though never in fact having left his old neighborhood? Is this because his speed is sometimes faster than the always faster speed of the surrounding world? Suppose Roger Vincent were to skim the cream off the top of this apparently unpleasant situation—which could well stand in for any one of multiple unpleasant situations.ROGER: How does one skim the cream off the top of any such situation?STEPHEN: First, Roger Vincent chooses some small detail within the given situation—or perhaps even one or two details that catch his attention. And it is these such small details that ultimately represent such a situation.ROGER: But additional details seen but not chosen?BERTRAND: Ruthlessly discard them. One must never speak of them again. NEVER!STEPHEN: Although they will agitate powerfully inside oneself—because having been discarded—they secretly become potent indeed. So handsome Roger Vincent must be asked does he truly LIKE it here? Though discarded details: sex and violence, for instance—does he LIKE IT here?RICHARD: Perhaps Roger Vincent at a certain point should be told which planet he is currently visiting? And Roger Vincent is then informed that he is one of the very few who will eventually understand many unusual things on this Earth.CHARLES: The darkness, for instance, repeatedly falls here. Which is always the taking place of what always takes place.STEPHEN: And finally, having lost all belief in a better world, handsome Roger Vincent sets off in search of the final unavoidable.ROGER: But why this unnecessary search? Simply wait for something terrible to happen.STEPHEN: And if Roger Vincent somehow fails to see that happening? Then life will go on even more unendurable until the next terrible thing happens again.RITA: Is handsome Roger Vincent being driven crazy-mad by forces that somehow seduce others with the shining promise of great happiness?STEPHEN: And here again find handsome Roger Vincent almost untying the knot that ties together the foolish and the wise. Using his own mind mirror to begin mirroring at least, that deep unavoidable entanglement.RITA: At the same time OTHERS are being ordered to be happy about the inevitable state of confusion—being ordered to enter it again and again.STEPHEN: But Roger Vincent, handsome and always missing the point, because trying so hard means he always misses the point. Never realizing there is a twist in all things. From the very first moment, a terrible TWIST!ROGER: And all this serious thinking means things will always go wrong. But inevitably, I MUST think, so I must always go wrong. Because one such as Handsome Roger Vincent does SEE many things, but handsome Roger Vincent never will never see everything, so Roger Vincent must always go wrong. Because Roger Vincent does not know, really what I should really do with a life such as my own life. I HAVE it. But then?RENÉ: People often believe Roger Vincent is crazy, but Roger Vincent is only HALF crazy—all the time? And this is never enough.RITA: At THIS moment in time, for example—beautiful Madeline Harvey could easily choose this as her moment of transformative encounter.MADELINE: Why not?RITA: If beautiful Madeline Harvey were to venture into the street right now, for instance, would she be likely to encounter something truly revelatory?MADELINE: And why not?RITA: Something that would completely change her life?MADELINE: And why not?RITA: But yes and no. Because while catastrophe always approaches from just around the corner, Madeline Harvey will never turn that corner, never see what approaches, and therefore she is happy.MADELINE: Even if I sometimes feel like crying. Because though beautiful for a moment, Madeline Harvey's deepest wishes will never be fulfilled.RITA: But she secretly accepts that. And it is therefore—CATASTROPHE that secretly awaits her.RICHARD: Why does Beautiful Madeline Harvey never understand that she exists today inside a kind of space—difficult for the human mind to register? In which depth is only another paper-thin surface—and with more space she never sees curled up inside the space she lives in but does not see. Invisible space therefore? But not always. Not for everyone.RITA: Suppose handsome Roger Vincent was discovered waiting in an obscure boulevard café, waiting for the beloved Madeline Harvey to walk down the street in his direction? With the sunlight being so bright that Roger Vincent says to himself . . .ROGER: . . . that to look into that light for very long would cause unavoidable blindness.RITA: But thank God, thank God for that possible blindness. Because so blinded one might feel inside at last . . .CHARLES: ONE IS ON FIRE!RITA: And the beloved Madeline Harvey, for whom the handsome Roger Vincent has been waiting patiently—appears suddenly! Stepping down from a blue bus as the door of the blue bus opens and the beloved appears, transformed into the shape of the child she once was in years long past—and carrying a little red suitcase that suited that child appearing in the true shape of the beloved as she now sits beside one now at the designated café table where handsome Roger Vincent has already ordered refreshments suitable for such an occasion and simultaneously— smiling back into the blinding sunlight, deciding to open the child's red suitcase, discovering that someone unknown much earlier had packed that very same polka dot dress that both Roger Vincent and the beloved Madeline Harvey hoped against hope she would be wearing. When such a beloved one as she—Madeline Harvey—would come walking toward handsome Roger Vincent down the wide boulevard—with two pair of eyes suddenly meeting. With a sudden . . .LOUISE: ELECTRIC SHOCK?RITA: While she—still wearing a dress much too large for such a small child, but now seated beside handsome Roger Vincent—that same beloved Madeline Harvey. But slowly disappearing now under the fixed gaze of Roger Vincent into some space and time so very different from the here and now within which Roger Vincent until now believed he was never GRANTED ENTRY. But suddenly Roger Vincent also—YOU TOO HANDSOME ROGER VINCENT! You at last exist inside that very unique space and time in which you understand at last that Roger Vincent always did—always exist inside a different space and time. YES! This is where Roger Vincent did exist! Does exist ON FIRE!MADELINE & ROGER: ON FIRE?RENÉ: Then run for one of the many exits of course.RITA: While burning up inside in the best fire of all which BURNS from the inside out making things, therefore, DOUBLY DISAPPEAR! Unreal as always and totally transparent. Where YOU, SHE, IT? Were indeed invisible until now.MAKING THE WHOLE WORLD FINISHED AND COMPLETE?STEPHEN: Yet suppose beautiful Madeline Harvey didn't believe that handsome Roger Vincent really did exist? Or suppose beautiful Madeline Harvey didn't believe he DIDN'T really exist? Holding on to herself as her body starts to shake—Madeline Harvey imagines the heretofore unimaginable. She walks down the sunny boulevard in her new polka dot dress, with the skirt that flares out as it should, while holding a small leather pocketbook which she clutches to the side of her body and smiling a faint smile. When amongst those crowded into a café along that wide boulevard—Madeline Harvey catches the eye of the appealing and handsome Roger Vincent—and she thinks to herself as she stops . . .MADELINE: . . . in the middle of the street?STEPHEN: Still smiling faintly with her back to the sun . . .MADELINE: . . . this is the one who will certify to my EXISTENCE.STEPHEN: And she stands there frozen, with the sun behind her head, making her hair frizz like a golden halo. While the crowd on the boulevard is moving past in all directions at once. But Madeline Harvey does not move, with the eyes of Roger Vincent fixed upon her always. And slowly, very slowly . . .ROGER: . . . like honey dripping from a silver spoon into a cup of frozen tea, her physical self dissolves . . . and disappears like a slow fade beneath his fascinated gaze.STEPHEN: But the actual disappearance of her physical body?LOUISE: It could happen!STEPHEN: As if Madeline Harvey were melting into the world of sunlight behind her.LOUISE: It could happen!MADELINE: And then—would she finally exist? Or would it be necessary for her to keep telling stories of her life inside the story of her lifetime? And even if Madeline Harvey didn't exist, would those stories still exist? And then, who would it really be who was, in fact, existing?STEPHEN: Pretend Madeline Harvey was alone in a room, and suddenly, spontaneously, her body caught fire, and within seconds, all of her body was consumed by flame and within a few seconds—turned to ash—all except a small left foot, inside a clean red shoe, untouched. It could happen—it has happened before to a few bodies—that pure fire. And if it should happen to Madeline Harvey, what stories would remain, untouched like the left foot and the red shoe?BERTRAND: Is that why her body shakes and the stories go "knock knock knock, can I come out please?"RITA: Suppose at some earlier time Madeline Harvey was in bed and began shaking in bed. Her whole body—shaking in bed? Would this mean that Madeline Harvey did exist or did not exist?STEPHEN: Find out by allowing Roger Vincent to tell an important story that may have no real importance because—though it really did happen to Madeline Harvey—would that mean that Madeline Harvey necessarily did exist or did not exist?MADELINE: And Madeline Harvey asks herself whether I believe in this no longer important story even more than the many other stories I never even bothered to imagine?RITA: Even when her whole body is shaking because her important story is in fact being told?MADELINE: But inside which of the many possible moments am I really existing and is that really important? Remember, if Madeline Harvey disappears now by fire, or if I disappear now by time, slowly making me melt into the sunlight? Or if I disappear into my own story alone. Which I am now telling myself to stop my body from shaking? Remember, if Madeline Harvey never exists more than right now, then which of the several options of disappearance will be the one I chose through allowing that world which is always MORE than myself to choose between options for myself alone. Madeline Harvey alone.RICHARD: Suppose it was otherwise, and Madeline Harvey was surrounded by people—an entire world in which the depth and intricacy and the solidness of both the world and of your fellow human beings was replaced by a world in which everything was, you know, thin somehow, with no enfolded depth. Human beings with nothing but a surface—even when that surface seemed clever and quick about the ways of the world, but which had no, you know, depth? But suppose this only meant that the scene of the action was suddenly elsewhere. No longer between human beings as such but, you know, elsewhere. Even though human beings, this new paper-thin kind were still manipulated by an action which was in fact—elsewhere. Imagine some fluid, like hidden from view—spinal fluid? Or even some hidden and exotic atmospheric fluid in empty space between people. And in that fluid, between people that's where the action was taking place? Not inside these now paper-thin human beings, but washing through those—who, being paper-thin could then float upon even highly agitated surfaces. Being buffeted on those surfaces by the "ELSEWHERE" of the eternal life force—operating now on the surface of such paper-thin persons all with no depth inside? And suppose it was really like this, with people—here and now?MADELINE: And if Roger Vincent is given such information—what happens? He holds his head and tries not to smile. But does Roger Vincent dare simultaneously to be exhausted? But if exhaustion would not be enough—though still a step forward—treading water one might say? When Roger Vincent does such a thing in order not to swim backwards? Preventing, hopefully, life being once again, stolen From Roger Vincent himself? Making such demands upon himself that Roger Vincent is forced to become that son-of-a-bitch he might already have become just so he might go with the . . .ROGER: Shit, fuck, son of a bitch!MADELINE: . . . flow of things—? So, has Roger Vincent really been cheated? Has Roger Vincent's life really been stolen?RICHARD: Here comes one of the possible thieves disguised as an emptiness factory that simply manufactures more and more empty space inside already empty people and things.MADELINE: This no longer perfect Roger Vincent—deepening in empty space lost? While that empty deep space reproducing itself again and again but inside itself only? A perfect e
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