A DEAD ART FORM
by Calvin Jennings
“Debray!” screeched Fulton, the echo of his harsh voice
reverberating up and down the tunnels. “Debray, are you up there? Toss down the
ladder! I came all the way from the village in the rain to make sure you
weren’t dead, and for all that you had better have a cup of tea ready for me! I
mean it you damn Yankee bastard, I’m going to be very fucking upset if you’re
dead and there’s no tea to be had!”
In spite of the acerbity of his words, Fulton’s voice was
edged with a friendly sarcasm, the kind that develops between two men when
they’ve had years to learn how to rag on each other without causing offence.
And because of this Debray took his time in responding, pausing to compose another
sentence and then to light the burner for their tea water. With these tasks
accomplished he picked up a lantern and headed down the tunnel towards the
sound of his friend’s voice.
“Okay, I hear your shuffling,” continued Fulton. “You’re
alive. I’m still going to be angry if there’s no tea, though.”
Approaching the end of the tunnel, Debray looked down at
Fulton, who stood some twenty feet below him in a wet raincoat and with a grimy
old duffel bag tucked under his arm. In the thin light from the electric bulb
he could see Fulton smile at him as he used his free hand to wring some of the
water out of his bushy gray beard.
Debray unhooked the rope ladder and tossed it down to him.
With amazing spryness for a man in his mid-seventies, Fulton proceeded to climb
it, the arthritis in his knees barely slowing him. When he reached the top of
the ladder he extended his hand to Debray, who helped him step off and into the
tunnel. They shook each other’s hands before letting go and Debray took
Fulton’s coat.
“I see the rain hasn’t yet let up,” he remarked as he hung up
the slippery, dripping garment.
“Of course it hasn’t let up. Why the hell would it let up
now? It isn’t June on this damn island unless your basement is flooded and your
roof is leaking,” Fulton muttered, following Debray down the tunnel towards his
living quarters. “In all seriousness, please tell me that there’s tea.”
“Give it fifteen minutes.”
Debray’s living area was large compared to many of the other
rooms carved underneath the mountain, measuring perhaps forty feet by thirty. Fulton
sat down at the table and emitted an exasperated grunt, once again wringing raindrops
from his beard. The water for the tea was almost ready by that point and Debray
remained standing while they waited, even though standing was becoming
increasingly difficult for him. Every time he stood, every time he moved, every
time he stayed on his feet for more than a few minutes the pounding in his
chest returned and his breath became short. If he breathed too deeply he would
cough uncontrollably, and if he started to cough uncontrollably he would also become
dizzy. So as they waited for the water to boil he tried not to inhale too intensely,
even though he felt a cloud of phlegm again growing in his lungs. Yet a moment
came when he could not control it any longer and the coughing fit that followed
ripped through his body with such force that he doubled over, grabbing the
table for support.
After perhaps thirty seconds of hacking and gurgling he managed
to subdue the cough. He spit out a cloudy yellow ball of mucus, only to then look
up and see Fulton staring at him warily, sizing up the state of his health. Fulton
obviously knew how sick his host really was, even though he chose not to
mention it.
“I brought your mail for you,” he instead remarked in an
absentminded tone. “You got a package and don’t worry, I made every effort to
keep it dry for you.” He then produced a thick wad of letters from his bag,
followed by a rectangular parcel wrapped in waterproofed materials. Pulling
these off he saw the shipping envelope had a Portsmouth postmark. He knew that
it could only be one thing, and so he gingerly tore it open.
Inside was a black rectangular case, the kind of plastic
container used to protect videocassettes. It was dingy and well worn, but the
label was entirely readable in neat, black type:
UNDERWATER TREASURES OF MOUNT DESERT ISLAND
RUNNING TIME: 52:35:18
1920x1080 (P) – 23.976 fps
LANGUAGE: ENGLISH
AUDIO CHANNELS: 4
Debray smiled. Yes, he had been waiting for this one for a
long time. His hands were dry, yet as a precaution he wiped them on a towel and
carefully opened the case. Inside was an HDCAM SR videocassette. Considering its
age the tape was in excellent condition; more than likely it had only been
played a few times over its life.
“I can see this is a good one,” remarked Fulton. “I can also
see that our tea water is boiling, so let’s perhaps hurry this up.”
Over tea the two men caught up, with Fulton providing him
all the relevant and irrelevant information from the village. In truth there
wasn’t much to tell, for the past eight days of rain had kept people mostly
indoors. There were however press reports about yet another political scandal
embroiling the ruling party in Halifax, and despite the unending downpour the
bridge to the mainland was now almost fully repaired. Then, with their tea
finished, Debray picked up his lantern and beckoned for Fulton to follow him.
The tunnels underneath the mountain were not natural caverns
in any respect. They had been dug and blasted out by the rebels, who had been
given almost four years to work on the project before the old United States
government had made a serious move to capture the island. Even with that time
the effort had remained far from complete, with only five of the island’s
twenty-odd mountains having been excavated when the Marines had landed, and
with three of those excavations still incomplete at the time. This mountain
they were under now – Norumbega it was called – had been one of the smaller efforts,
and so it had been fully finished at the time of the invasion. With its network
of carefully laid out rooms and passageways, electrical wiring and drainage and
ventilation systems, it had remained remarkably intact despite the bombs and
shells raining down overhead. The tunnels were all high enough for fully-grown
men to walk through, with smooth floors and vertical corkscrew-shaped alleys that
had allowed supplies and weapons to be transported on wheels. Following the end
of the war a speculator had purchased all of the excavated mountains in the
hope of turning them into tourist attractions, but he had found that few people
were interested and had sold off all but one of them. Norumbega was too steep
and barren for farming or lumbering, and too far from the village for it to be
an attractive home, which had allowed Debray to purchase it very cheaply.
At the entrance to the archive Debray put the lantern down and
flipped the light switch. His own personal rule was to never bring a candle or
a lantern through that door, even though the electricity for the lights was
quite expensive. For the benefit of visitors he kept a single bulb burning at
the front entrance of the tunnels, but otherwise he mostly used candles and
lanterns for his personal illumination. But the archive was different, for the
candles and lanterns could start fires and the archive was filled with
irreplaceable items.
He pulled out his keys and unlocked the door. Entering the
enormous, chilly room the two men gazed upon a collection nearly forty years in
the making. Once this had been the sleeping quarters for sixty rebels, their
bunk beds stacked high against the walls. Now those same walls were lined with
shelves, their contents organized by format and title. On one side were the
celluloid films, starting with 8mm formats and continuing to 16mm and 35mm and
even one lone random reel of a 70mm print. To another side were the “home”
formats – DVDs, Blu-Rays, Laserlight discs, videocassettes of every size and
format. Still to another side were stacks of hard drives, small projectors,
spare parts, splicing machines, batteries, obsolete disc players, ancient
televisions and antiquated cameras, all sealed in dustproof containers.
Fulton retrieved the ladder and Debray let his friend make
the climb towards the middle shelf, pointing him to where the tape needed to go.
But as Debray went to hand it to Fulton he descended into another fit of
coughing. His lungs burned with every exhalation and he closed his eyes until
it was over with. When he opened them again he found himself staring at the
case in his hand, which was dripping with phlegm and dark blood. He locked eyes
with Fulton.
“I have an extra,” he said in an embarrassed manner. Searching
for and finding a case of the same size, he copied down the program information
onto the new label and transferred the videotape to its new receptacle. The cassette
was fine, none of his bodily fluids had gotten onto it, but Debray was genuinely
mortified.
“Yeah, you’re not staying here, man,” Fulton said to him in
the most direct manner possible. “You’re coming back to the house and you’re
staying with us until that cough is under control.”
Debray went through the motions of protesting. The archive
needed his attention, he said. His work wasn’t finished and he was in the
middle of too many projects. Yet he didn’t put up too much resistance, for he
knew that Fulton would insist and in truth he no longer had a desire to stay in
these awful, cold tunnels. Yes, his work wasn’t finished and yes, he was in the
middle of too many projects. Yet he didn’t particularly care any longer if he
was the one who finished them or even if anyone ever did. His body was
overtaxed, his mind was cluttered and his ability to concentrate was waning. His
resistance was a mere formality.
“Fine, I’ll go with you if it will shut you up!” he finally exclaimed
after Fulton threatened to knock him over the head and have him carried back to
the village.
They exited the tunnels into the worst downpour that Debray
had seen in years and their progress was slow. The wind was howling, the rain
was coming down at extreme angles and their feet and pants were thoroughly
soaked as they made their way down the winding path through the woods.
Like the other settlements on Mount Desert Island, the
village of Northeast Harbor had begun its life as a fishing and farming community
near the end of the eighteenth century. A hundred years after it was settled it
had started to grow into a summer colony, first as a seasonal getaway for
clergymen and professors, then as a haven for Astors and Rockefellers and other
prominent families. Now nearly three centuries later it had returned to its
roots, for despite its increasing prominence as a commercial port many of the families
still derived part of their livelihood either from tending the land or harvesting
the sea.
Unlike Debray, Fulton was not a native of the village, or
even of the province of Maine. He had been born in Georgia, now several
national borders to the south. As a U.S. Marine during the war years he had
been sent to the island as part of the garrison that had kept order there after
the invasion. But as the U.S. government itself began to unravel, so did its
far-flung military units. “Getting anything out of the government was like
trying to get something out of one of those old credit card companies,” was the
way Fulton had always described it. “Towards the last of it you could barely
even get a human being on the phone at the Pentagon.” Unable to find a way back
to Georgia, Fulton had simply taken off his uniform, walked into the nearest
village and asked for a job. Forty years later he was still here, making a
steady living repairing machinery and fabricating metal parts and tools for the
sailing ships that gathered in the harbor.
Fulton’s house was too large for a single-family home, but of
course he did not inhabit it alone. Besides his wife the structure was also
occupied by his youngest son and his daughter-in-law, plus their three children
and eight of Fulton’s interns. The couch in the living room pulled out into a
bed, and it was here that Debray found himself. For the first two days he was
weak, yet he still had an appetite and was able to move about the house and sit
at the table for meals. That lasted until the doctor came and saw his
condition, ordering him to get into his sofa bed and stay there. Debray – with
Fulton’s vaguely threatening encouragement – did as he was told, and on the
third day he burned with fever and slipped into a delirium.
The days that followed were barely noticed by him, for he
passed in and out of consciousness at irregular intervals. And sleep was easy
for him in his weakened state, despite the activity around him. The noise from the
workshop gave a rhythm to his waking moments as he lay there on his back
listening to the sounds of grinding and spinning and welding and Fulton screaming
at the interns to bring him his tea. The rain on the roof, the door to the
house opening and closing as customers came and went, the never-ending drone of
the weather radio, the scuffle from the shoes of grandchildren who had been
cooped up inside too long, these bothered him not at all.
His grip on the physical world wore thinner with each
passing day and soon the doctor returned. Debray was vaguely aware that he was
being examined, for even with his mind in a far-off place he was still cognizant
of the stethoscope’s chilly touch and the pinch of the blood pressure cuff
around his bicep. The physician administered a drug to control the delirium,
and during the ensuing period of lucidity he managed to overhear what the
doctor told Fulton:
“There’s no sense in putting him in a hospital bed. At his
age, in his condition, there’s nothing anyone can do,” the man explained in a
dour voice. “He’s got a week at the very most.”
So, it was official: he was going to die soon. Well, it was
about fucking time, he thought. At this point he was only too happy to cross
over to the other side. No matter what waited for him there at least he
wouldn’t be here anymore. Nobody cared, and with his end so close he wasn’t
going to either. Yes, death could come for him any time now, and damn everybody
else. Not even Fulton, his best and only remaining friend, understood.
- - -
From the youngest age possible to remember, Debray had loved
the movies. He had grown up in Northeast Harbor when it had still been a summer
colony, and the winters had brought boring, bleak stretches in a depopulated
community. He lived for after school and for the weekends, when he could escape
to invented worlds. He would watch movies on Netflix and on DVD and Blu-Ray and
he would download them onto his iPhone and iPad. And when new films didn’t
interest him he turned to old ones, devouring the classics of every decade
going back to the early years of the twentieth century. It was such a wonderful
way to escape. His childhood had been materially comfortable but it would have
been psychologically unbearable for him had he not had these to help him cope
with the drudgery of school and the never ending pile of homework that stalked
him through afternoons and weekends and summer breaks.
After college he had naturally gravitated towards Hollywood,
although when he had arrived he had found a city and an industry in deep
crisis. Nobody was making a profit except for the biggest names in the business,
everyone was trying to get you to work for free, or, if not for free, then for
some piddling, insignificant amount of money. He prostituted his talents for
contacts and experience, dodging debt collectors and landlords at the same time.
He worked eighteen-hour days on shoots, he spent hours hunched over at his
computer editing and sound mixing for projects. He barely paid attention to the
problems outside of Los Angeles, to the political dysfunction ripping apart the
country or to the epic drought that was slowly killing the southwest. And after
years of writing and re-writing his script, of taking meetings and asking – no,
begging – for money, he finally got the chance to direct a feature film of his
very own. And although that film had not turned out as well as he had hoped and
had not received distribution outside of a few festival screenings, he had
still been immensely proud of it.
But that had been so long ago now. He had been forced to
move back to Maine, back to Northeast Harbor, not long after that. Then the wars
came and the island had been taken over by the militia. Debray himself had been
a corporal. Not by choice, as an able-bodied islander he had simply been
conscripted. He was lucky though, for he had ended up as a POW after being
wounded by a mortar shell. Many of his friends had not lived to see the end of
it.
Both his Hollywood period and the war period played through his
mind as he lay expiring on Fulton’s sofa bed. But so did the time after the wars,
the time when the Republic had been first founded and he had set about to see
what could be salvaged of the film work that he and others had done. He was
never able to find a copy of his own movie, but he had collected anything else that
he could get his hands on – equipment, tape masters, consumer video products,
hard drives, film reels. But the job got harder and harder as the years went
on. It had been called the film industry
after all, and all the complex pieces of equipment needed to produce and to watch
movies, all the software and computers and cameras and projection systems,
almost all of it had been made overseas, and after the wars it had become
frightfully expensive to import what had been needed. And then one by one the
foreign factories began to close, and soon there came a day when it could no
longer be acquired at any price.
Realizing that his preservation efforts required more time
and money than he could supply he had, some five or six years earlier, taken
the ferry to Halifax in the hope of securing parliamentary recognition and funding
for the archive. He managed to arrange a meeting with a representative named
Stockton, MP for the northern district of New Hampshire and chairman for the
Committee on the Arts. Stockton was a tall, gangly man in his early forties who
reeked of pipe tobacco and inhabited a dreary third-floor office with frosted
windows.
Stockton listened politely as Debray made all of the familiar
points. He started by asking, in a rhetorical sense, what was culture? Culture
was the great conversation between the dead, the living and the yet-to-be-born
he explained. It was the conversation that carried on over decades and
centuries, which crossed borders and passed on the best values of the deceased
nations – the United States and Canada in this case – into the living realm of
the new ones, especially their own. He reminded the man of the importance that
motion pictures had once had to the two cultures that had preceded them and
explained the deplorable state of preservation of that art form. He described
the tragedy of digital technology and the film industry’s embrace of it. Sturdy,
modestly priced film cameras and film projectors that could be used for decades
had given way to obscenely expensive digital cameras and digital projectors
that required complex and pricey maintenance every couple of years. Stable
motion picture film stocks with long shelf lives had given way to less durable
videotape formats and then finally to computerized storage on hard drives that
had to be constantly maintained and monitored. He told of how many movies had
never existed on film at all, how they had been shot and archived on video and
had then been left to rot on those same hard drives and imprisoned on cassette
formats for which there was no longer the equipment to play. He told of how,
even for the motion pictures that did exist on film, that film was often
rotting away too.
“Mr. Debray, a seat on my committee is not something that
one aspires to,” Stockton said in reply. “Nonetheless, I try my best to fulfill
the responsibilities that it is tasked with. However, there is scant funding
available for an initiative such as the one you propose. Our appropriations for
individual projects rarely exceed fifty thousand dollars. Look at it this way -
ten years ago we had a cholera outbreak in my district, thousands of people
sickened. Two years after that we were at war in Estrie and Labranche’s army shelled
my district. They shelled it repeatedly. They killed hundreds of my
constituents and did millions of dollars in damage and – by the way – they
destroyed the drainage systems that had been put in place after the outbreak,
the result of which was a return of cholera. And that cholera is still with us,
every year hundreds sickened. Now you come to me and say you want three million
dollars for this project. You seem to assume that I can raise that kind of
money from my colleagues. Yet even if I could get them to allocate money for
your project, how would I explain to my constituents that, even though I was
able to get someone three million dollars to preserve movies in another
province, I was not able to get them a comparable sum for the repair of the rest
of the drainage systems? And how would my colleagues explain their support to their
constituents? Most of them represent districts where there is some other vital
need that is only being attended to slowly, if at all. No Mr. Debray, it will
not happen. I do understand the importance of your work. If you wish to
fundraise for your archive I will be happy to write a letter for you extolling
its importance. If you schedule an event within reasonable distance of me I
will be happy to speak at that event and extol its importance to an audience.
But I can provide no help through parliament at this time. I’m very sorry.”
Stockton had a way with words; never before had someone told
Debray to fuck off in such a polite manner. Well, no matter, it was over now. He
was leaving and he was glad, and with the last bit of energy left in him he
opened his eyes and smiled. The years spent building a career that had fallen
flat, the years spent trying to preserve what had once been, it was over now. And
it had all been such a god damn waste.
---
At half past two Fulton awoke, feeling
the familiar tightness in his pelvis that always manifested itself about this
time. He lit a candle and went downstairs to the bathroom, where he urinated
with the expected difficulties of his age. Finishing the process, he made a
detour into the living room to check on his friend.
Immediately upon entering he knew what
he was about to find, for the room had an awful stillness and silence about it
that it had not possessed on all the other nights when Fulton had checked on
Debray. There wasn’t the slightest movement now, nor the slightest sound apart
from the rain on the roof. Fulton went to the couch and pulled back the
blanket.
Debray’s breathing had long since
stopped, but the smile was still on his face and his eyes remained open. Glassy
and lifeless now, they gazed up towards the ceiling. In death the expression
was ghastly, and Fulton used the palm of his hand to shut his pupils and then
he sculpted Debray’s mouth into a neutral position.
Yes, he thought, it was better that it
had happened at night. Not better for Debray perhaps, but better for Fulton,
for Fulton would have been too self-conscious to cry if it had happened when
the family and the interns were around. But here, at quarter to three, in an
empty room, he felt no shame in taking hold of his friend’s hand and weeping
inconsolably.
“Damn you for making me sob like this,
I ought to throttle you for it,” he whimpered. And then after some time had
passed he broke free of the grip and covered Debray with the blanket. He locked
the doors to the room so that no early risers would get a surprise from the
body and he returned to bed, tears still welling up in his eyes whenever he
thought of the long decades he had known the man.
- - -
Debray’s will left Fulton with a very unwelcome
responsibility:
“To my dear friend Arnold ‘Warrant’ Fulton I leave the
Norumbega Motion Picture Archive, along with the property it sits on, with
instructions that he care for it until some individual or entity can be found
to take over its operations on a permanent basis.”
It was the last obligation that Fulton wanted, so for a time
he ignored it and concentrated on other matters, especially the arrangements
for Debray’s funeral. It was not until a few weeks later that he began to give
the task some serious thought.
Fulton knew that Debray had not been alone in his efforts,
that there were others out there who ran similar operations. They were listed
in Debray’s address book, he had been in contact with all of them at one point
or another. While none of the other archives were in the Republic itself, a
number of them were in other parts of North America. And so Fulton composed
letters informing the proprietors of Debray’s death and inquiring about the
possibility of their institutions taking possession of the archive’s holdings.
As the replies came in over the weeks that followed it
became obvious to Fulton that he was never going to disperse more than a
fraction of the archive in this way. All
of the replies offered praise for Debray and condolences at his passing, but
none of them offered the kind of help he needed. Some of the replies cited a
lack of space, others explained that they were in serious financial jeopardy
and could not guarantee the safety of their own holdings, let alone Debray’s. Some
of the institutions were interested in taking possession of specific movie
titles held by the archive, but none of them could accept the whole collection.
When Fulton had a problem he couldn’t figure out, a problem
that nobody living could help him with, he would imagine himself in
conversation with the people who were no longer living, people whom he had
respected during their lives. His parents, his sister, his dead friends and
commanding officers from the Corps, he had asked all of them for help at some
point. And now that Debray was dead he could join the chorus. He imagined his
friend standing over him while he labored in his workshop, he pictured him
walking alongside of him as he trekked into the village to collect the mail.
For days he simply did this without imagining a dialogue. He didn’t know how to
start it until he thought of one question to ask:
“Why should anyone care about the movies any longer? It’s a
dead art form.”
“Because this was an enormous part of our culture,” the
imaginary Debray explained and then he launched into his familiar spiel about
the conversation between the dead, the living and the unborn. It was all
familiar – and banal – to Fulton, so he cut off the monologue and tried a
slightly different line of questioning.
“Okay, but why did you care? What did they mean to you?”
“They were an escape,” the imaginary Debray responded after
a long pause. “They gave my dreams a form. A form for all my fantasies about
what it would be like to be a man, to be out in the world, to finally be able
to leave this awful place behind me.”
“Nobody wants those dreams anymore,” Fulton snapped,
suddenly angry. “They’re dead, and good riddance. Those dreams were always a
cruel joke, I’m glad that I lived long enough to find that out. They weren’t
real. They could never, ever be real. But they seemed real, so real that you
believed the promises they made.”
Fulton then thought of the glamorous, sexy women that he’d
seen in so many movies, then he thought of the plain, unattractive island girl
he had married. He remembered cinematic action scenes, superheroes battling to
save the world and sports cars drag racing to techno music, and then he thought
of the skeletal automobiles rusting in junkyards all over the Republic. And he
remembered the antiseptic old war movies that his grandfather had always
watched, then he recalled the rebel officer he’d seen in one battle, vomiting
blood and desperately trying to prevent his intestines from spilling out of his
punctured gut. But most of all he remembered the promise of a happy ending,
without which no movie seemed complete, and which always came no matter how
grave the problems of the plot. And to Fulton that was cruelest part of the
movies because it was the greatest betrayal, the broken dream that stung the
most.
He felt so unexpectedly emotional that he was uncomfortable
with himself, and he abruptly ended the imaginary conversation before he could
picture Debray’s response. He knew he was being unfair to an art form that had
been incredibly diverse and that there had been plenty of movies that had not conformed
to those narrow classifications. They had existed, even if he had never
bothered to watch any of them when he was younger.
For many weeks he didn’t return to the discussion, and
perhaps he would never have returned to it at all except for an encounter at a
social event in the village. Fulton had trimmed his beard and put on his best
suit to attend a wedding ceremony, and at the reception that followed he had
encountered an acquaintance of his who had asked how the movie archive was
working out with Debray gone.
“What are movies?” asked the man’s daughter, who was perhaps
seven years old and was standing nearby. Her father then launched into a confusing,
convoluted explanation. He started off well enough by describing movies as
stories made up of photographs that moved so quickly that they looked like they
were really moving, but lost his train of thought when he attempted to provide
specific examples, finally asking the child to imagine her school pageant
displayed on the video monitor she had seen on a tour of the RNS Truro, a naval vessel that had made
a port call in Northeast Harbor the previous Christmas.
Fulton could have explained it much better, yet he simply listened
to the man’s feeble attempts. This was a person who had not yet been born when the
last movies had been exhibited on the island, and who had probably been no more
than a small child when television had ceased broadcasting. The man did not
know the language necessary to explain the concept to someone who didn’t
understand it at all. And that reawakened an idea in him. He returned to the
house, gave his interns the rest of the day off and headed off towards
Norumbega Mountain.
In the archive he stared at the shelves, his eyes ignoring
the video and disc formats – which he knew were completely unplayable to him –
and instead focusing in on the 35mm reels, and then in on the wooden crate against
the far wall. He knew that the crate held Debray’s disused film projector, a
device that had never quite worked properly. Retrieving a crowbar, Fulton
proceeded to pry open the side of the container, the heavy slab of wood
creaking away from the box and falling to the cavern floor with a muffled thud.
This was not a new idea to him, although he had spent months
resisting it by telling himself that he knew nothing about the technical work
of running the archive. Yet he had to admit that he had spent three decades
watching Debray at work here. Surely he had absorbed something of that. And so he peered inside the crate and there,
wrapped in clear plastic sheeting, was a large black and silver film projector,
and taped to the interior side of the crate was a stack of papers. Fulton took
them in his hand and realized they were the operating instructions for the
projector, along with a set of blueprints for it and a list written in Debray’s
neat, cryptic handwriting, a list of parts that he had believed needed
replacing.
Fulton felt a wave of excitement sweep across him. Yes, it was
by no means certain that he could get the projector working again. But the
island still had a steady supply of electricity, expensive as it was, and it
was entirely possible that he could fabricate new copies of the faulty parts in
his workshop. After all, he had tackled tough repair jobs before, and this one could
even be a good learning experience for the interns.
“These 35mm films,” Fulton began, summoning the imaginary
Debray once again. “There are different types on the shelves up there. Which
ones can’t be projected?”
“Negatives and internegatives,” came the reply.
“Which ones shouldn’t be projected?”
“Interpositives.”
“That leaves regular old prints, the kind used in theaters
before everything got computerized,” was Fulton’s triumphant reply. Yes, he did
know a thing or two. He pulled the ladder towards the film shelf and began to
climb. Debray had collected hundreds upon hundreds of film reels and many of them
were final release prints. Yet he knew that Debray would have been aghast at
the idea of projecting any part of his collection, and he knew exactly what the
man would have said to him:
“You can’t project any of those films, Warrant. I don’t have
duplicate film copies of any of them, and for all you know each one of those
might be the last celluloid copy left in the entire world. If you were damage
it that would be it, a part of it would be lost forever.”
“How will I damage it? What if I’m careful?”
“It’s not just about being careful,” Debray would have
pleaded. “These prints only have so many projections in them, each time you run
one you bring it closer to the day when it will fall apart on you. You
understand? Each time you play it you damage it. You might not be able to see
it but the damage is there, that scratch at the end of the third reel just got
a little bigger, the sprocket holes on reel ten just got a little wobblier.”
Fulton replayed these words several times over as he
examined the reels on the shelf, then temporarily put them out of his mind. The
labels on each canister included not just the title and film format, but also
the year of release, the director and the principal cast members. His eye was
caught by one that starred an actor he remembered, and so he pulled out the
first reel and brought it down. Putting on a pair of cotton gloves just like
Debray had always worn, he got out a magnifying glass and began to examine the
film. It didn’t take him long to realize that it was actually a pornographic
film, and that the actor in question looked incredibly young compared to the
way Fulton remembered him.
“If I can get that projector working I’ll show this one to
the men around here,” Fulton said to himself. “Discreetly, of course. Hell, I
could probably charge double admission.” Yet even as he said it he was haunted by
the specter of his friend and his adamant disapproval. Debray had been
obsessive about protecting his collection, inventing and refining more and more
elaborate precautions to keep it all from harm. That was why he had never made
any serious attempt to get the projector working, he had had no motivation
because he wasn’t comfortable projecting any of his films even once. And even
with his friend gone, Fulton knew that he would be uncomfortable in doing what
he was planning unless he could justify it to himself. Was his idea necessary? Yes,
he thought that it was, and he thought he knew why it was, and so once again he
summoned Debray before him and asked why it was so important that the prints be
kept from any and all damage.
“You’ll be risking a lifetime of work. My work. And the work
of everyone who made them,” he pictured Debray saying. “All of this needs to be
preserved for the day in the future when it can be resurrected again.”
“I’m two years older than you are – than you were,” was
Fulton’s response. “I could go just as quickly as you did. If I died tomorrow,
do you think my wife would care about this place? Do you think my children
would? I’ll tell you what the future of this stuff is, it’s all going in the
trash unless someone who cares takes responsibility for it. And nobody is going
to damn well care unless they know it has value. Do you know why you could
never make anyone care about this place? Why no one ever gave you money to help
run it? It’s because you have all this awesome stuff up here but you would
never show it to anybody. You were too afraid it would get damaged. All of
these things that people could have enjoyed were locked away where nobody even
knew you had them. The villagers themselves barely even knew what you were up
to out here.”
A question strayed into his mind: why was it that Debray been
so obsessive about protecting his collection from any possible harm? It was a
silly question, really, for deep down Fulton knew the answer. After all, Debray
had lost almost everything. He hadn’t just lost most of his family, he had also
lost his identity. He had dedicated his career and his life to an art form,
only to watch it shrivel and die, his own film, the product of years of work, probably
gone forever. He could only imagine how much that had hurt him. It wasn’t
surprising that he had spent the rest of his life frantically trying to protect
the works of others. It looked like his way of coping, but he had never really
come to terms with it. No matter how he tried to hide it, Fulton knew that his
friend had died a deeply embittered man.
Fulton knew that he was bitter too. Maybe not as much as
Debray had been, but it was there, sealed deep within him. He too had lost almost
everything. He knew that he had stayed in Maine because he couldn’t deal with
the prospect of going home and facing what was left, or more accurately, acknowledging
all of the things that weren’t left. He didn’t even know when or how his own
parents had died. And like Debray, he had lost his identity. It was not just because
he had lost his career but because he had also lost his flag, and that had been
what had given his service meaning. He had loved his birth country so much, and
after all he had gone through for it he would be damned if he ever loved another
country that way. The younger generations didn’t understand any of that. They
couldn’t understand it because they had been born into the cold, gray light of
reality and were growing up in a world where life promised meager returns. They
had no idea what real loss was or what it felt like to be promised everything and
then have it denied.
Thinking about these things brought tears to Fulton’s eyes,
and he allowed them to come, for the concealment of the archive made him willing
to be emotional in ways that he would not normally have been comfortable with.
“God damn you, Debray,” he cursed under his breath, wiping
tears from his eyes and looking over towards his imaginary friend. “The moment
that I cross the Styx I’m coming to find you, and when I find you I’m going
to kick your eternal ass for putting me through this.” He then closed his eyes
and banished Debray to the rear corner of his mind, where he would live
alongside all of the other ghosts until needed again. And then the tears
stopped.
He went back to Debray’s living quarters, where he retrieved
paper and pencil and spread the projector blueprints out on the table so that
he could copy them. He didn’t really need back-ups, but doing this would
familiarize him with the inside of the machine and make it less likely that he
would accidentally damage something when he did open it up. He would do this
several times until he felt ready to start working on it physically. And if he
could get it working he would watch what Debray had collected, he would find
the good ones, the ones that were worth the time of others. And while some of
them might represent dreams that deserved to be dead, surely there were at
least a couple worthy of a second life.
Then when he found the ones that deserved to be seen he
would show them. He would show them to the village, to the other settlements on
the island, to the merchant seamen and the navy crews who visited. He would
make sure as many people as possible knew about them, and if he was lucky he
would find some young person who would be entranced enough by them to take over
the work that Debray had started. And if he had to mangle a few irreplaceable
film prints along the way that was just how it was going to be. These remaining
movies were going to die someday, they could not last forever. And when they
did flare to life for the final time perhaps they would do so while providing
form to a dream in someone else, just as they once had for Debray.
But of course before he did any of this he was
going to make himself a cup of tea.
© 2014