into the underworld

(Note: how to say Eurydice (is it dis-sey, or ditchy?))
(Note to self: this should all be filmed on location in Linz, or San Diego, or another location.)

(In this, all the shots of O&E, we just see E, it's all her looking at the camera and the camera is O.  Because he's seeing, and he sees himself reflected in her when she looks at him.  Like a mirror.  (Note to self: I don't think that's how mirrors work, but kind of, and if it doesn't, it fits what I'm trying to do here, so back off)...

(So the film of them before, in the garden paradise whatevuh, they talk but it's all her face on the camera.  And now she's going out to gather berries and shit.  Whatever it is that they do out there, when they gather, that's what we're going to be seeing in this shot.  She's all gathering, and then she gets bit by the snake.  But it won't be a close up of her face getting scared from being bit, because that could be really cheesy; however, it will be something like ecstasy when she is bit, and this will make her body contort, and will be the source of the ritual snake dance, the tarantella, that will come in the ritual bits.)

(For this, we're in front of her, we're the camera, and she's walking through the woods and gets bit by a snake.)

When Eurydice goes, she knows she's going to be gone for a long time, but she doesn't know she will be gone forever.  When Eurydice is bit by a snake, she knows she has been bitten utterly, and she knows she will die, but she doesn't know that dying will be forever.  When Eurydice gives in to the poison and feels the ecstasy of the bite, she knows that she will be outside of herself, but she doesn't know that she will be outside of herself forever.

(The bite, the trance, the dance.)

And while she is being turned into something else, forever and utterly, Orpheus is spending time wondering when she will be back, and he doesn't know that he is being turned into something else, utterly and forever, because it's at this moment of waiting for her to come back, this moment right here, where he will be frozen in time as a mortal.  His immortal soul, the one that lives in the memory of those who remember him, will be known as the one who played sweet music, and then the one who only plays the saddest music in the world.  The before and the after, the sweet and the sad, and it's separated by his mortal soul waiting, this mortal soul in between is where he is stuck in time, and all of the rest of his days are spent in waiting.

But first, he has to go under and look for her, and she is in ecstasy, dancing with death, and he is in a terrible panic, dancing with the ghost of loss and longing.  Most lovers who live in the darkness of a lost love find themselves playing between these two places, dancing with death or with longing, and all dark lovers think they cannot bear it, that they cannot go on like this, that they cannot go on.

But they do, for much longer than they could imagine.

And that's the tragedy, because it's living in the mirror before you can be born, and all the dark lovers go back to never being born.

We don't really want to know what it's like to find someone, because that happens to everyone, we want to know what it's like to lose someone and how to live after that.  Because you can't live without the one you lost, except you do, and no one knows how that's even possible, but it is, and that means that anything else is possible, too.  That means to enter an enchanted world, and the ones who enter it in darkness are the ones who learn how to see.

So this is about learning how to see.


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