Who was waiting

A crossing at Soroca is mostly waiting. The portrait without the bag is a portrait of a stranger, and we do not sell those.

We do not move someone to the prettier side. If she waited on the wrong bank, that bank is the picture.

The hour it did not come

Wind days are the days the office calls. We do not postpone them for a calmer river.

No crane, no drone over the fortress. The camera stays at the height of the person waiting.

Maria grades a firing the next morning, with a bowl from that firing on the desk, not a picture from a better week.

We do not warm the river to match the kiln, or cool the kiln to match the wall.

Ilie will not cut a kiln into a crossing film to make the reel longer. Length is the length of the wait.

Names of people who agreed, then the frames. A bag is filed with the person.

The painted board already lies. The pictures should not join it.

We will not paint a boat into a late afternoon. The office has been embarrassed by that once, before us.

Olesea writes the lines. If the clerk would not say it, it does not go on the reel.

No titles over the fortress. The screen behind the desk has to be readable from the door.

Radu asks. He does not film first and request later. The landing is small and people talk.

Someone who says no is not in the edge of frame either. We move.

The kit walks down from Kogălniceanu. If a job needs a generator on the bank, it is not ours.

A white card if a face falls into the wall's shadow. No lamp that outshines the firing.

Name the boat or the firing, and whether the person waiting should be identified. We will say if we can be on that bank.