Told my girl I’d have to forget her

So I?m on the 55 at rush hour here in the OC. It’s sundown, and headlights are coming on. Swooping ribbons of freeways arc overhead. All around me, thousands and thousands of SUVs, each one inching forward a moment, then lurching as the owner hits the brakes. I look inside each truck. Back where I come from, you buy a truck if you need to haul firewood or sheep or something ? here, you buy a truck to haul yourself. All around me, thousands of secretaries and paralegals and financial services managers and creative arts directors and color print specialists not only drive trucks, they drive Trucks. They’re vast metal luxury tanks, leather-lined muscled workhorses that have been collared and placed into the merry-go-round of home to 405 to office to 405 to home. We have the middle-class Dodges and the Cruisers and the Tahoes and the Edges and the Santa Fes, but we have SUVs that are slumming from their upper-crust upbringing: Audis and BMWs and Hummers. A gentle brush against the accelerator, and a thick V-6 mutters underneath the hood, burning approximately one-quarter ounce of gasoline and converting it into carbon dioxide and trace emissions which fly past the catalytic converter and into the ever-darkening sky, and Mom and her four year old and four empty back seats all roll forward five feet, and another gentle brush on the brake pedal and the shock absorbers groan and wobble ever so slightly as the truck halts hard, while the 14 MPG engine continues to meditate, irreversibly sing subtle poisons into the sky. And each person in the county (which, the last time we checked, was around seventeen million) brushes the brake pedal and brushes the gas pedal approximately (the last time we checked) ninety-seven hours per year.

I squint into my rear view mirror. The black SUV behind me has his brights on. He flicks them a couple times at me. What the hell does he want me to do? The car in front of me rolls forward and stops, I roll forward and stop, perhaps with a little less vivacity than the SUVs around me, but I?m keeping pace with the slog nonetheless. Mr. SUV crawls forward, lights glaring upon my bumper.

The traffic shudders, rolls forward several hundred feet. A car on my right edges in front of me. The truck behind me jerks to a sudden stop, rolling like a tugboat on an unfriendly wave. He puts on his brights, leaves them there.

We sit there, all six thousand of us, waiting. The traffic has frozen like tree sap in hard winter. I flick the rear-view mirror up, get the glare out of my eyes.

In two minutes, the cars grudgingly roll forward, then roll forward again. The SUV behind me roars and swerves into the carpool lane, then sharply cuts in front of me. I hit the brakes. Traffic convulses, chokes, and dies again.

The driver of the SUV has improved his commuting time by approximately 173 milliseconds. I scowl at his bumper and fume impotently at it, and wish a silent posthumous curse upon all the 1950’s master planners of the greater Los Angeles area. And then ?-

Here I interject that I am driving a Toyota Prius. Two years ago, the California legislature passed a law saying that, if you pay $8 and fill out a lengthy form and if you’re one of the lucky eighty five thousand drawn from a very large hat, you qualify your Prius to wear an unsightly yellow sticker on its butt and its side. So we did, and we were drawn from that very large hat. And we got the Prius stickered.

I zoom out into the car pool lane, tapping the brakes beside the driver of the SUV just long enough to make eye contact, flip him a middle finger, and drive off at 70 miles per hour.

Meanwhile, back in heaven, two angels were watching. Their dialogue was as follows:

ADNACHIEL

Oh man, did you see him flip that guy off? That was funny! Man, I gotta get me one of those Priuses.

AFTIEL

No don’t do that, the service is really expensive on those.

ADNACHIEL

Yeah I heard that. Anyway, point for or against?

AFTIEL

Against. Look at that poor bastard in the SUV. He?s going to go yell at his wife and ignore his daughter when he gets home. Total karmic value to the world is negative.

ADNACHIEL

But you gotta admit —

AFTIEL

“But I say unto you, Love your enemies, bless them that curse you, do good to them that hate you.”

ADNACHIEL

(sighs)
Matthew five forty-three.

AFTIEL

Okay, one karma point off for John Byrd — what about SUV guy?

ADNACHIEL

Leave him even on karma. He had a gun in the glove compartment that he didn’t use.

AFTIEL

Bang bang. Okay, let’s take a look at the jam on the 5.

Thinking he won’t, goddammit he will

Oh shit, he wrote plays.

Unfortunately they suck no worse than a lot of “new works” I’ve auditioned for. But there’s one unforgivable dramatic shortcoming in his plays, which will be as interesting to the criminal psych folks at Quantico as to playwrights:

He has no sympathy for his antagonists. They’re half-dimensional receptacles representing teachers and parents. They’re not people.

You can’t write an interesting play if you have no sympathy for your antagonists.

What’s your definition of dirty, baby?

There exists a clever book by Jack Morin, Ph.D., called The Erotic Mind: Unlocking the Inner Sources of Passion and Fulfillment. He interviewed his “Group” of 351 people about what he called their “peak erotic events.” These are The Group’s most memorable sexual transactions or encounters, whether real or imagined. The group contained men and women of all ages and sexual persuasions. He then categorized these peak erotic events by type, and found patterns that occur by gender and by sexual preference. He distilled his analysis of The Group’s sexual desires into four major components, or what he called cornerstones:

1. Longing and anticipation. Example: a woman has an ongoing fantasy about a popular baseball player, even though she’s never met him.

2. Violating prohibitions. Example: a man has sex with another man in a train car.

3. Searching for power. Example: a woman fantasizes about being a prostitute and being ordered to have sex with various men.

4. Overcoming ambivalence. Example: a modern liberated woman finds a traditionally masculine man both arousing and distasteful.

And Morin claims that each person’s peak erotic event contains one or more of these components.

Now I’ve already claimed that a sexual component is a prerequisite in any sort of dramatic work. To be more specific, people go to the theater because they need to be entertained, and sexuality is a critical component of that need. But — and this is critical — the sex must be presented in the context of the four cornerstones above, or people won’t tolerate it. Theatrical sex outside of the context of the cornerstones is merely pornography.

If you tell an actor, “Play this scene sexy,” they’ll be lost. But tell an actor, “Where’s the violation of the prohibition in this scene?” or “Where’s the searching for power?” And then the scene will pop to life, because asking the question re-introduces the sexual component into the scene.

Time for a practical example. I just closed a production of “I Love You, You’re Perfect, Now Change” at the Chance. In this production I played six characters: a frustrated father, a hen-pecked husband, a lovelorn eighty-year-old codger, a nightmare date, a pitchman for a law firm, and a convicted murderer. Now let’s take a look at the text for the convicted murderer scene. Yours truly is playing Trentell:

MRS. WHITEWOOD
Our speaker today is a gentlemen by the name of Mr. Kevin Trentell. Mr. Trentell is an inmate here at Rayford and is currently serving seven consecutive life sentences. So without further ado: Mr. Trentell.

TRENTELL
My name is Trentell. I am a convicted mass murderer. I’m going to be locked in this shit-hole the day I die. — And I’m single. That’s right, single. Oh sure, once was like all of you. Good job, latest stereo equipment, drank bottled water. But no matter how hard I tried, I just couldn’t seem to find my significant other. Sound familiar?! Then came New Year’s Eve. I got an invite to this party, but I couldn’t get no date. So I went alone. All of my friends were there, all my married friends. All kissing and cuddling and calling each other cute names like “sweetie” — “pumpkin” — “pooh bear”… Well, I couldn’t take it any longer! I SNAPPED! I GOT OUT MY AK-47 AND BLEW THEIR MARRIED ASSES STRAIGHT TO HELL!

What you laughin’ at, boy?!

BRAD
I wasn’t laughing!

TRENTELL
You a wise-ass, motherfucker?! You think it’s funny I’m pushin’ fifty with no soul-mate?!

BRAD
Please don’t talk to me!

TRENTELL
And what about you, lady?!

SUSAN
Can I go home now?

MRS WHITEWOOD
No.

TRENTELL
You want to end up like me? No one to share your golden years with?!

SUSAN
God, no!

TRENTELL
Then listen Up! Cause I got some friends on the outside, my age, who are still single! Wanna hear about ’em?

SUSAN BRAD
I can’t take it! No! No! Please
I can’t take it!

TRENTELL
I know a guy in his fifties who recently took out his one-thousandth personal ad! And I know a woman, forty-five years old, she’s been on the same diet for fifteen years. You’re all waiting for Mr. and Ms. Right to come along, aren’t you’s? Well I got news THEY AIN’T COMING! YOU GOTTA COMPROMISE A LITTLE, YOU DICKHEADS! Alright, you and you! Up here! Now! Now! Now! Now! Now! What’s your name, boy, and what’re you looking for?!

BRAD
It’s–it’s Brad. I’m 34. I’m looking for a nice Christian girl who shares my values and wants to stay at home and raise my children.

TRENTELL
AND YOU?!

SUSAN
Susan — thirty-ish. I’m looking for a Jewish man who will let me continue my career as a corporate lawyer!

TRENTELL
WELL, MOTHERFUCKER?!

BRAD
You wanna get married?!

SUSAN
YES!

MRS. WHITEWOOD
Another match! Another match! Oh, thank you, Mr. Trentell. And thank you all for participating in another “Scared Straight To The Altar” program!

So in this scene, there are no obvious sexual references in the text. Fortunately, subtext is the actor’s friend. As I constructed the scene, I went through the four cornerstones in Morin’s book, trying to let those cornerstones influence the choices that Trentell made. Trentell went for the sexual component: he was the implacable Bad Boy who overcame his ambivalence about killing people, and darn it he was happy to have overcome that ambivalence — because killing turns him on! Killing is horny!

Sick stuff to be sure, right? No way this subtext could possibly play in the heart of Republican California, right? I’m going to get booed off the stage, right?

I tell you this, and you can buy it or not: the audience ate it up. At the end of each show, every single person out of the fifty or so who came up to me commented only on Trentell, and not one person commented on any of the other five characters I played. And some of those other characters were quite lovely — the old lovelorn man’s scene was gentle and pretty, I thought — but after the show, no one in the audience gave a rat’s ass about it. The only character anyone cared about was Trentell. One woman in the audience came up and grabbed my hand and stroked it: “You are so funny,” she cooed. And another who had seen the show several times told me, “Trentell’s now a verb around our house. I’m gonna Trentell you!” And she grabbed me.

Do not fear the sex! People want the sex! They need it! Use the cornerstones! Play the sex!

Prepared to make it but just then the phone rang

For some reason this scene was cut before the theatrical release. It’s in the director’s-cut DVD though.

                             FADE IN:

               EXT. ELVEN FOREST - DAY
                (SAM, FRODO, GOLLUM)
               SAM AND FRODO SLUMP AGAINST A LOG.  GOLLUM COWERS A FEW FEET
               AWAY.  BIRDS TWITTER.  SAM LOOKS AT FRODO.

                                   SAM

                      Guess we can rest here for a time,
                      Mister Frodo.
                                   FRODO
                      Yes, Sam.
               SILENCE.  GOLLUM SCRATCHES ON THE GROUND WITH HIS
               FINGERNAILS.  SAM COUGHS.

                                   FRODO (CONT'D)
                      Did you say something?

                                   SAM
                      No.

                                   FRODO
                      What?

                                   SAM
                      I just coughed.
                                   GOLLUM
                      Hobbitzes always coughingzess!  Nasty
                      sounds he makes!
                                   SAM
                      Shut up, you!
               FRODO SIGHS.  LONG SILENCE.  SAM COUGHS.
                                   FRODO
                      Um...

                                   SAM
                      Yes?

                                   FRODO
                      Nothing.
                                   SAM
                      No, what?
                                   FRODO
                      Nothing.  Really, Sam.
               LONG SILENCE.
                                   GOLLUM
                          (coughs)
                      Gollum!  Gollum!
               FRODO SIGHS AND CLOSES HIS EYES.