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feminine clothing with visible discomfort and only for this shot, which she intends, in the final edit, to be ironic and wry: She is performing herself, not performing herself in order to tell a story about something else entirely. The curl of her lip betrays, to anyone who knows her, her utter disdain of the bizarre, flare-skirted swimming-cum-trapeze-artist costume that so titillates the crowd. The wind flutters the black silk around her hips. She tucks a mahogany case—which surely must contain George, her favourite camera—smartly under one arm. All of her crewmen strap canisters of film, a few steamer trunks of food, oxygen tanks, and other minor accoutrements to their broad backs. The real meat of the expedition, supplies and matériel meticulously planned, acquired, logged, and collected, was loaded into the cargo bays overnight. What Severin and her crew carry, they carry for the camera, for the film being shot of this film being shot.
    The cannon practically throbs with light: a late-model Wernyhora design, filigreed, etched with forest motifs that curl and leaf like spring ice breaking. The brilliant, massive nose of the Venusian capsule Clamshell rests snugly in the cannon’s silvery mouth. The metal beast towers over Saint Basil’s, casting a monstrous shadow. Most of its size is devoted to propulsion. The living space within is surprisingly small. That etched silver forest will be jettisoned halfway to Venus, destined to drift alone into the endless black. But for now, the Clamshell dwarfs any earthly palace built for the glory of man or god.
    They are a small circus: the strongmen, the clowns, the lion tamer, the magician, and the trapeze artist poised on her platform, arm crooked in an evocative half-moon, toes pointed into the void.
    CUT TO: INT. Clamshell cantina, NIGHT 21:00 ERASMO ST. JOHN and MAXIMO VARELA pour vodka for the CREW and laugh uproariously::: FILM DAMAGED, FOOTAGE UNAVAILABLE SKIP DAMAGED AREA SKIPPING SKIPPING ERROR SEE ARCHIVIST FOR ASSISTANCE ]

 
    From the Personal Reels of Percival Alfred Unck

    [A camera is on. The screen is black, for the camera is skewed toward the wall, a clandestine attempt to capture the child without her knowing she is being recorded. Occasionally, flickers of silver interrupt the darkness—echoes from a screen showing more lively activity somewhere behind the device that picks up the following quiet conversation.]
    PERCIVAL UNCK
    Now, in any film it is important that you know who is telling the story, and to whom they are telling it. Even if no one on-screen talks about it, the director must know, and the writer, too. Now, who is telling this story?
    SEVERIN UNCK
    Daddy is telling the story!
    PERCIVAL
    [laughing] Well, Daddy made the movie, but Daddy is not telling the story. Look at the characters and how they speak to each other. Look at how the film begins, how the very first scenes shape everything else. Now, who is telling the story?
    [There is a long silence.]
    SEVERIN
    The camera is telling the story. It’s watching everything, and you can’t lie to it, or it will know.
    PERCIVAL
    My girl is so clever! No, the camera witnesses the story and records it, but it is outside the story. Like a very tiny god with one big, dark eye. Baby girl, look at the lovers, and the villain, and the doting father, and the soldiers, and the ghosts. Which one of them is the authority? Who controls how the story is told? And who is the audience, for whom all these wonderful things are meant?
    [Another long silence follows. There is a rustling, as of a little girl twisting her lace skirts while she tries to work out an answer.]
    SEVERIN
    They are all telling the story to me.

 
    Preproduction Meeting, The Deep Blue Devil [working title]
    (Tranquillity Studios, 1959, dir. Percival Unck)

    Audio recorded for reference by Vincenza Mako, screenwriter

    PERCIVAL UNCK: If you want to know about the beginnings of things, you have to talk to the