We’ll move out of the shelter, buy a big house and live in the suburbs

The Pacific shimmers a radiant electric blue and the wind rustles our hair. Crystal has put the top down on the red Nissan 350Z roadster. The engine sings a sweet harmonic note as we trace the tight curves of the Pacific Coast Highway.

“Speed under control,” she says to me, her dark sunglasses reflecting the horizon. The bare skin on her shoulders is the color of vanilla ice cream. “You learn how fast you can push it. I had this Yamaha R6 for a time; I took it to Laguna Seca. There’s nothing like hitting a curve at seventy and feeling the bike respond underneath you.”

In the meadow to our right, stud horses stand in uffish thought, meditating upon the silver-white waters below them. We fly past them like wind.

“I did love Anthony at one time,” she said. “I was in Reykjavik, he was in Boston. We kept in touch with e-mails and Internet chat messages. I didn’t speak the language. And through the ones and zeros I found a sympathetic voice. We wrote to one another. First it was once a day… ‘how’s your day been’ and that sort of trivia. Then we started to discuss our favorite books, our philosophies, our childhood memories, and ultimately, our darkest sexual fantasies.”

“Hey, watch –” I said. A rental truck whooshed by, swerving a little. Crystal had veered into the left lane. Crystal gave me a look of subtle reproach, then continued.

“Three years after I was married to him, I met Blaine. He worked in the cubicle next to mine. With him, in person I felt something I never felt with Anthony. I knew we were going quickly, but it was my choice to do so.”

Coyote brush, sage scrub, strawberries, roses; a thousand scents pass us in a microsecond. Crystal checks her rear view mirror and gently touches the accelerator. The tachometer tweaks and the engine changes key.

“I broke up with Blaine in April. He had already decided to divorce his wife. Monday mornings, I see him at the coffee maker and nod politely. We’re civil to one another. I don’t regret anything and neither does he. The break was a clean one.”

I decided to change the subject. “Do you still ride your bike?” I asked.

“I crashed my bike a few months ago. Took a turn at Thunderhill a little too fast. A fracture in my ankle. It swelled up larger than my kneecap. I couldn’t walk for a few weeks after that. But you know something, John?”

Crystal kicked the accelerator and the little car howled like a nest of bees: ninety, one hundred. An indicator on the tachometer flashed.

Crystal dropped her sunglasses and showed me her dark eyes. “You have to push it,” she said, smiling gently at me. “You have to learn what’s possible and what’s not.”

Fate should have made you a gentleman’s wife

Amanda has a supersweet languorous smile, and conversations always stall when she enters a room. She has laser-beam hazel-green eyes, full of attention and sense; whatever they focus on warms perceptibly. Her hair, long and soft, is a living part of her body, and she flicks and flows it like a filly flirts with her mane. At night, when my renegade brain ticks away, unsolving and unresolving dilemmas of money and unwork, there’s always the warm flesh of Amanda, spooning against my back and touching me, holding me. She calms me, addresses me, makes me sane.

Amanda, Mandy to friends, is far smarter than you or I. If I’ve lost something about the house, my wallet or my guitar capo or my open can of soda, I’ll ask her, and her terabit brain ticks for a picosecond and she says, “Why, on top of the mantle, sweetie,” and there my wallet or my guitar capo or my open can of soda will be. Her ability to do this, repeatedly and perfectly, gives me no end of cheap entertainment. It’s the perfect parlor trick.

Mandy sings, only for me, in a copper-plated alto. Unlike me, she remembers all the words to any song, and we’ll sometimes spend Saturday nights on the couch, with my guitar eviscerating random rock songs, and Mandy will plug into her vast mental library of throwaway-music lyrics, and we’ll joyously and raucously sing for an hour or two. Our great friendship smoothes the rumpled folds of our bed sheets, and so I consider our California king-size a place of refuge, or a nest. With a glass or two of cheap Merlot in her, she’ll forget to forget, and she can see her own sultriness reflected in my shining eyes.

She tells gentle blue jokes, twisting her tongue to the side of her ample lips in a punctuation mark of irony. I have never, in my fourteen years of association with her, known her to be spiteful or cruel to any living thing. She is a fine wife, a gentle and sweet and intelligent wife. I love my wife; more than that, I like her.

Sunday morning is everyday for all I care

I woke up early this morning, made a pot of coffee for myself and the wife, and had an old Southern drama for breakfast. In the intro, Thomas Lanier Williams wrote: “Personal lyricism is the outcry of prisoner to prisoner from the cell in solitary where each is confined for the duration of his life.”

Very rarely, very randomly, like one monkey of the seven hundred kissed by a muse, I can also vomit up the dark truth.

The truth is Coffee. Any of you theater types want to have a go at it?

She take me money and run Venezuela

VCR alert: Word is that the Tilda sketch went over very well. Set your VCR to watch SUTN this Saturday night (June 13 2004) at 1:00 a.m., KBHK, channel UPN 44, Bay area Cable 12.

Also, I wrote the final sketch of the season. Come by the KPIX studio at 855 Battery Street in beautiful foggy San Francisco, this Sunday evening, June 13 2004 at 8:00 p.m., to watch the sketch live, and laugh loudly. Free free free tickets here! Live television audience woo yay!

Let ’em be doctors and lawyers and such

Dave Kellum pulls the cigarette from his mouth and squints up at me. “See that hill over there? In this next shot, you slowly trek over that hill. Carrying your backpack.” I survey the dust-covered hill; it’s half a mile away.

Dave squashes the cigarette underfoot. “Charles and Griffin will take you behind the hill in the truck. When you get there, put on the backpack, and when I give the signal, starting walking over the hill toward the camera.”

“Easy enough,” I say.

Charles and I pile in the cab of Charles’s pickup truck. It’s a fat-ass Ford, contractor white, with plenty of trusses and locking toolchests and bungie cords. With effort, Griffin lugs my backpack into the truck’s bed and jumps in the back.

Charles drives the truck very tentatively over the glacially pockmarked terrain. The girder-sized shock absorbers complain and the truck rolls back and forth. Charles drives over two-foot craters of bone-dry earth. Griffin taps on the rear window, and Charles laughs. “I’m trying to drive easy,” Charles shouts out the open window.

Charles abruptly stops, halfway around the hill. Thirty feet from the truck, two thousand pounds of black Angus stares down at us.

“It has horns,” Charles says.

“Mayday,” I shout into the walkie-talkie.

“Oh, relax, it’s just a cow,” says Charles.

“You sure?” I ask.

“Either that, or it has four dicks,” Charles says.

Charles gently drives in a wide berth around the cow. I roll down the window of the Ford and shout, “Moo! Bitch!” The cow swivels its head, tracking us all the way around, staring us down.

We leave the cow and park the truck behind the hill. Griffin straps the backpack to my back and puts the walkie-talkie into my vest pocket. I sway under the heavy load, my gas mask fogging in the ninety-degree heat.

“Action action action!” burbles the walkie-talkie.

I saunter over the hill toward the camera, spouting technobabble. “NorMat control, bearing two zero three six mark three, germ count three point six nine millibars and rising…”

“Cut! That was great,” barks the walkie-talkie. I turn around and slowly trudge back over the hill, toward the truck.

Charles and Griffin are shifting from foot to foot, scanning the horizon. “Great job,” says Griffin, applauding. “But I think we better go.”

“Why, what’s up?” I say.

Charles points. The black cow is back, staring at us intently.

Directly behind the cow are two hundred other cows. They strut and stroll towards us, their huge flanks rippling.

Effortlessly, smoothly, the black cow flips its hind leg up like a pike and knocks a pile of flies off its ear.

I look up. At the top of my ninety-pound costume is a red flag.

“Oh bloody hell,” I say.

“Let’s get this thing off you,” says Griffin.

Charles and Griffin begin yanking at the pack on my back. Calmly, inexorably, the herd marches toward us, watching, walking, waiting. Curved horns, twisted horns, straight horns. One steer points a single cockeyed horn at us and licks its ruddy nose.

“They think it’s feeding time. Or something,” says Griffin.

The black cow is now fifteen feet away from us, flipping its horns. “John, you’ve got to help us here,” says Charles.

“I’ll do anything humanly possible to help out here,” I say.

“Pull,” says Griffin. I give a colossal heave and the pack falls onto the ground with a thud. A steer snorts in surprise.

In one large motion, Griffin throws the pack into the truck and jumps over the tailgate. Charles and I fly into the cab and I yank off my headgear.

The truck is surrounded. Griffin scans the two hundred thousand pounds of incoming brisket and screams, “Drive!”

Charles punches the gas. Dust and gravel zings into the air and Griffin coughs. A dozen cattle scatter, huffing and snorting, their necks craning to get away from the sudden noise. Charles turns the truck in an ungainly circle and bolts around the hill.

The truck ricochets wildly off the uneven earth. The shock absorbers screech and metal slaps metal. We bounce left, right, then hard left.

I lean out the window and scream at the herd scattering before us. “MOOOO, MOTHERFUCKERS! MOOOOO!”

We hit a small wall of gravel and dirt and the engine block crunches against it. The shocks hurl the entire truck into the air.

In that split-second I glance at the mirror on the side of the truck. In that moment, Griffin is airborne, his arms and legs splayed protectively beneath him, a mixture of bewilderment and sadness on his face.

It’s centrifugal motion, it’s perpetual bliss

Before the show, Jen McDearman enters the dressing room and says, “Did you get the note from George?

I look up from my Adult Happy Meal. McDonald’s is now selling Adult Happy Meals. They come in shiny cardboard boxes that sport exuberant marketing text. They include a large salad, a bottled water, and an adult toy.

In my case, my adult toy was a stepometer.

Yes, I know what you’re thinking, and I’m thinking the same thing, but it was just a stepometer.

“What note from George?” I spew, my mouth full of croutons.

Jen is a bare slip of a woman, a gregarious funny girl. Her round brown eyes blink. “He says that I should sneak on stage and watch you sing Mirror,” said Jen. “After you finish the song, George wants me to run up and give you a big kiss.”

“Um… What kind of kiss?” I asked, wiping Caesar dressing from my face.

“How the hell am I supposed to know?” she asked. “A big one!”

“Do you want this stepometer?” I asked.

GO ACTIVE! STEP WITH IT!” shouted the Adult Happy Meal.

I wonder if I taste like croutons.

I know it’s wrong so what should I do?

Adam’s Cardinal is winging us into a dazzling sunrise. Over his shoulder I read airspeed 110 knots, heading 40. He trims the pitch a fraction of a degree by flicking his thumb. You can practically hear the organic chemistry in his brain: pitch level vertical horizon freq pitch NAV1 pitch set VOR squawk 1200 level throttle pitch correct.

I look at the dashboard of N30304. The blue vinyl has cracked and withered from years of wind and sun. The gas gauge has a bit of masking tape on it. Adam has manually recalibrated the gauge so when the gauge says half full, it?s really got a full tank. The plane is almost exactly as old as me. The engine farts and growls and picks us up.

“We’re going to be plenty early getting to the RZ camp,” he says. Adam is thin and sharp featured, and his voice is soft and staccato. He speaks in the clipped, precise grammar of the Silicon Valley alpha geek. “We have the time and fuel. Would you like to try some maneuvers?”

“Maneuvers? As in loops and rolls?” I ask.

“Sure,” says Adam. “I’m instrument rated. I’m legal to fly in all sorts of meteorological conditions. That?s where the VFR pilots get themselves into trouble. They get into a cloudbank, and then their inner ears tell them they’re flying straight and level. And they get out of the bank and the earth and the sky have switched places, and they’re doing a slow spiral towards earth. Bad news, most definitely.”

“Sounds like bad news,” I say. “Hey, is that the Great Mall of America down there?”

Adam tips the airplane thirty degrees to the right and looks over my shoulder. My nose hits the windshield and I let out a syllable.

“No, that’s not the Great Mall,” he says, righting the plane.

“You’re not really going to do any rolls, are you?” I ask.

“Darn, I forgot to secure my bag in back. Can?t roll right now. But you know, the Cardinal is quite a stable plane for other sorts of maneuvers.” Adam pushed in the throttle and the engine reduced speed to a low rumble. “Now, consider this low-speed flying situation. You see that our air speed is reduced to ninety. Now eighty. And there it goes, that’s the stall alarm, you hear that warning horn? And so you don?t have enough lift on the wings, and so the plane quite literally falls out of the sky–”

My heart hits my chin. The vertical speed indicator shows we are dropping at fifteen feet per second. In ten seconds, we drop twenty-five stories.

Adam gingerly pushes the throttle. The Cardinal coughs and clutches at the air. The airspeed picks up to one hundred.

“Adam, I’m actually a bit afraid of flying?”

“Oh, me too,” said Adam. “I don’t like to do the dangerous stuff. I’m a total wuss.”

Oh, life, it’s bigger, it’s bigger than you

Valerie,

I wanted to respond with due care to your advice about tongue kissing on stage.

As you recall I played Dracula against Tiffany Cherevko playing Mina Harker. You remember Tiffany; a natural blonde with deep brown eyes and a fine figure. Tiffany was only my second stage kiss. I distinctly remember the first time Tiffany and I kissed in rehearsal. It was about four weeks into the rehearsal process, and we hadn’t staged or rehearsed the kiss even yet. In my mind, the kiss had become the Kiss… and now, at this particular rehearsal, now that it was time to actually Get It Together, it had become the ten-foot-tall flashing green neon THE KISS.

We’re sitting side by side, waiting for the director to ask us to run the scene. So I lean over to her and whisper, “Y’know… um… this time, I’d kinda like to try th’ kiss… y’know?”

She thinks and says, “M’kay.”

So we run the scene. I drag her to the bed, pull her down on top of it, and we! KISS!

And she gives this little airy soprano sigh.

I could write a couple book reports about that sigh.

So rehearsal’s on.  I have this cute blonde chick, who I apparently do not annoy with my kisses, we have this superhot bedroom scene, and we have eight weeks of shows ahead of us.

Back to your original comment.  So why didn’t I absolutely tongue this chick mercilessly on stage?

Answer’s simple.

The thought never once entered my mind.

Or, more precisely (and we’ll write this one in red ink)…

The thought never once entered Dracula’s mind.

When I kissed Marin playing the Wife, I was the Lover.  I was vengeful, I was into the husband’s shit, I was Bad. I was there to get it on in the Husband’s bed and drink his wine afterwards.  Bwah hah hah!  All your wife are belong to us!  Let’s get it ON, bitch!

When I kissed Tiffany playing Mina Harker, as much as I could be, I was Dracula.  Stick my tongue down her throat?  Defile this confection, this subtle willowy angel of spun sugar?  Perish the vile thought!  I will consume this delicacy, body and soul, WHOLE!

When I kissed Alex playing Lizzie Curry, I was the Rainmaker, the open-plain ranger with a dusty wagon and a harmonica tune for a home, and I was (for the first time in my cursed life) feeling the touch of an honest woman, opening like an Easter lily before me, as I contemplated the twisted reds and golds burning the edge of the earth.

And when I kissed Emilie playing Mary Follet, I was Jay, the husband with a white house in Tennessee, happy to be home and sober with my sweet embarrassed wife, this gentle godly thing that rises before dawn to make eggs and toast for ridiculous old drunken me.

Nope, no tongues there neither.1

I finally figured out why I act.  I do it to get into someone else’s skin and live there for a while.  I discovered, somewhere around January 26, 2002 at 8:13 p.m., that it was more important for me to believe that I’m someone else, to truly feel alive in the life of another, than to get applause or money or fame or any of those other things that actors ostensibly want.  It’s the rush of pure, uncut creation, of feeling a new man’s heart beat, of crossing your eyes and seeing the three-dimensional image, of becoming and becoming and finally being that other person, as sure as you are you and I am me.

So for me… it ain’t about a quick-and-dirty makeout session or whatever the hell else us romantic leads are supposed to do!

Getting your ya-ya’s out is one thing.  Constructing a new person is another.

And that

(said John)

Is

That.

1I have one distinct memory from a Sunday matinee of Rainmaker.  As Alex and I ran off into the wings after the notorious tack-room scene, one male audience member wondered aloud: “Did’ee slip ‘er the TONGUE?!”