Sunday, December 12, 2010

Dream State (Part Two)


A few months ago I posted the first section of a novel I was writing called Dream State. You can go back to past posts to find it. This is the next section.


My first attempted rescue: Beaten but not whipped.

Pablo Carrillo, the dude in the car, didn’t realize his life was in danger. Nor did he think the gringo who knocked on his door that afternoon was anything worth mentioning to his wife, Phyllis. It wasn’t until the gringo started hanging around the corner deli near his apartment that he started to take the situation seriously, and not in the way the gringo had wanted, but in a way that could get the gringo hurt. At least, this is the impression I got from him when he grabbed me by the shirt and pushed me down in the corner of the store.
“Get out of my neighborhood, you understand me?”
“I’m trying to tell you you’re in danger!”
Carrillo hauled back, held his fist above my head ready to let loose.
“You think I want to be here?” I asked. “I hate this. I hate this.”
Carrillo lowered his fist, looked at the deli guy watching us.
“What are you looking at?”
The deli guy picked up a telephone and began to dial.
“Now you get the fuck out of my face or I swear I’ll put you deep in the ground.”
“It’s a bridge,” I started desperately, trying to sound as sincere and foreboding as possible, “I see a bridge and you’re crossing it. You have on a suit. A wedding? Are you going to a –“
The vision began playing in my head. All I could see was the truck coming at me. I was behind the dashboard, and the truck comes so fast he doesn’t have time to react. In an instant I feel the impact. My chest heaves, I try to catch my breath. My body convulses and contorts as the car wraps around me.
Carrillo stepped back, his fist still balled. I could feel the blood come to my mouth, my lip bleeding.
“You’re sick, dude. I didn’t even hit you! Get yourself to a fucking hospital.” Carrillo ran out of the store. I laughed to myself, but the pain in my chest was overwhelming. I saw black.
My face was cold. Numbness snaked up the side of my head from my ear to the top of my skull. I sat up, brushed pebbles from my cheek. I’d seen him crash and die. There was nothing I could do to stop it. It came, it happened and it finished, like a ride in an amusement park. It did what it was programmed to do and that was that. I’d tracked him down for nothing. He and Phyllis were going to crash on that bridge and fall into the river on their way to a wedding and there was nothing anyone could do about it. I turned my head and saw the deli guy looking at me from his window. No doubt he’d dragged me to the street, empathetic fucker. Yeah, I see you.
“I love you, too,” I said out loud, knowing he couldn’t hear me.
He turned away.
Okay, so there had to be a way to channel this stuff, synthesize it into a form I could deal with rather than chasing some guy until he thinks I’m nuts. Anyway, that’s what I was thinking. That was the plan, until I finally got it down to a science. You want facts and figures? I can give you that. You want times and places? I can give you that, too. You want to know who; it’s going to cost you. Cuz that’s what I do. Well, sort of. That was just three months ago, years from the time I’d had my first dream.




The Case of Emma

Cabrillo was not my first attempt to understand the reality of what I was dreaming. My first few dreams had faded as quickly as they’d come. Actually, Cabrillo came immediately after another set of disturbing dreams about a young woman named, Emma. The dreams by this time were longer, more concise. I began to see little details, such as the time of day or night, the weather, what they were wearing. And I just happen to wake up right away. That was the key to remembering.
In the case of Emma, I’d dreamed her death twice the first week, then three times the next week, then every night and twice during the day in the last week, when they stopped. I hadn’t connected her to anything real. Outside of enduring a horrible recurring nightmare, and a slightly bloodied nose, I just figured she was a mythical being I’d made up. I did however, out of curiosity, call a young woman I thought might be Emma and tried to warn her. She didn’t take it well. I tired to have a serious conversation with her, but she was spooked beyond imagination. I’d even given her my name and phone number in case she changed her mind and wanted to work with me. The more she resisted the more I attacked. I followed her to school, to work, to the dentist. I ran into her at a restaurant, in the subway, near a bus stop. One day the dreams just stopped and I was free, able move on. Or so I thought. A week or so later I was having lunch at a local restaurant and I saw her picture on the wall. On it was a memorial poem dedicated to her memory; her photo graced the bottom half of the poster. My heart stopped when I saw the picture. She had a straight white smile, shoulder length dirty blonde hair and was wearing chef whites, just as I had seen her in my dreams. The tag line below the picture stated she’d died on January 7th of that year, the victim of a brutal late night mugging in midtown Manhattan. I didn’t have to be told the details. I’d seen it several times. Now I knew for certain I was dreaming reality before it happened. In essence, I was a time traveler. A spirit roaming the dark halls of time, plucking out this event or that, all relating to the death of someone I didn’t even know existed before my subconscious brought me to them.

Fast forward a few weeks.

Once I’d started to put things together, figure out what I could do with this “gift,” I placed an ad in the Village Voice under “psychic readings.” In it I detailed my ability to dream the future and warn paying customers of what may be. The only problem was I didn’t know if it was a lie or not, because I’d never tried it on anyone in particular. I’d always been brought to a stranger in my dreams, as if guided by some unknown force, and it always took me a few days to track them down. Each time I’d ended up with nothing but heartache and hurt for my troubles. Funny thing is, I was always shocked and amazed that I could track down the subjects in my dreams. They never believed me. Would you? So, the hell with it, I was going into the dream business for real and make some money. Get rewarded for services rendered.

Friday, December 10, 2010

On aging and Creativity


We all share in the state of being human. Of knowing our fate even as we start our journey in life. Theatre is a way to share bits and pieces of our emotional life with others. To relate to our own and others experiences and see it acted out in a concrete forum. Our intellects are tied closely to our emotions, informing our decisions, influencing our tastes. One thing I've noticed is that as age comes upon us, for many people, tolerance for frustration and difficult circumstances decreases and we do not want to deal with difficult problems the way we may have in our youth. A difficult person is avoided. Uncomfortable circumstances are circumvented. This is done through experience. I figured out a long time ago that certain battles, situations and problems were worth avoiding at all costs. I used to take on all challenges head on. I was constantly swimming up stream. But I’ve come to realize many challenges are not worth the effort. Writing, on the other hand has become easier for me, and is similar to the dream state. At times I simply feel like I'm writing down what I'm seeing composed in my head and have very little to do with it, except giving it a nudge here and a nudge there. Creativity can be changed by drugs, but not exclusively. I think depression and emotional exhaustion can be crippling, and can come upon you like a wave. The trick is to recognize the symptoms as they build and to head off the “event” with some sort of intervention.

Tuesday, November 23, 2010

The Importance of Players


Being a playwright without a company to write for and have performances is like an artisan making a product with no store to sell at. It's frustrating at the very least. And what's ironic is now, more than ever, people have decided they want to be writers. Gone are the days when a writer actually had venues to go to. The most important thing a writer needs is support. He needs a sounding board he can trust and a venue in which to develop his product and ideas. Shakespeare had a company of players to write for. So did Ibsen. It is the most important step in a process of play development. Honing a script through readings and staged reading is the key to really getting a play to fly and unfortunately, unless you are in a place where these things are readily available through a company of associates, it is very difficult to put together. Once the playwright actually hears the words, sees the intent in the actors interpretations, hones the line reading and finds jokes that may not be evident but need to be unearthed. Then can the work proceed to greatness. However, these days it seems the playwright has to hone his stuff toward acceptance of the status quo or go It alone. Try as he will to get his words into the mouths of actors. This takes time, talent and money away from the playwright. Gone are the days of the many outlets and venues that used to be available to the writer. Now the pie has been cit so small that even a tiny piece has its costs. Doubly so in this terrible economy. You can't eat words, but they can sure eat at you.

Thursday, November 18, 2010

Bowling For Miracles 10 pages

Here's 10 pages of my new stage play, Bowling for Miracles. It's a comedy in 2 acts.
Copyright 2010 (c)
Registered with WGA



SCENE 3

Saturday afternoon, PAM’S living room. Dom has spread newspapers over the dining room table and on the floor. He devours one article after another, snickering as he does. After a few beats, Pam comes out of the kitchen.


PAM
Did you want-
Pam is surprised by the mess.

What are you doing?

DOM
This stuff is killing me!

PAM
What are you looking for?

DOM
I’m just reading.

PAM
Get them off of my table. Go on!

DOM
Look at this!

PAM
No.

DOM
Come here. Look at this one.

PAM(Reading)
Vampire boy found in bat cave...

DOM
Look at the picture! Can you believe that?

PAM
Get that off of my table.

DOM
Look at this! Look! “Man with two hearts donates one to next door neighbor!” Oh, that’s a good one! Can you believe they print this crap? Classic!

PAM
Move it or lose it!

DOM removes the papers to the floor revealing empty table. Pam does the following dialogue while setting table for three. Pam EXITS to Kit.

DOM
You got to see this one! Pam! Come on! Come out here a second.


PAM (O.S.From Kitchen)
Why are you reading that junk?

DOM
Perfect!

Pam enters from Kitchen carrying settings. Sets table.

PAM
They just make that stuff up. Imagine? They get paid for writing false stories like that.

DOM
Well, it’s a gold mine for somebody. Somebody’s making a mint! You can count
on that! You think they don’t make a lot of money writing this stuff? What do they charge for these things? A buck? Two bucks?

PAM
You’re the one wasting money.

DOM
I bet some of it’s true. Some of it could be true. Like this! See here? A man grew a radish in the shape of a chicken. Look at the size of that thing! What is it? A radish? Does that look like a chicken to you?

PAM
You want me to heat some bread?

DOM
That would be great. I mean it’s not the reason I bought these things. The miracle crap! That’s what I want to see. The holy stuff! That’s what I’m looking for!

PAM
Hush! You should be ashamed.

PAM EXITS to kitchen.

DOM
What? I’m just looking! A woman in Texas sees the Virgin Mary all the time. Then the sun spins around up in sky. People come from all around to see her. Does miracles too, I think. People, cripples, come hobbling up by the bus load just to watch her talk to the air. I wonder if they charge for parking? I bet that’s what they do, have some relative or somebody with a
huge cornfield or sand lot, charge a buck and a half.

PAM enters from the kitchen holding a hot bowl of pasta.

DOM (Cont’d)
Two, three bucks for vans. Campers. Motor homes, even!

PAM puts down the bowl and stares at Dom.

DOM
Ten bucks a pop even! Our Donny could be one of those people.

PAM
He’s not a cripple!

DOM
Not that.

PAM
Why, Dom? Why?

DOM
You know, special. He could be somebody very special. Oh, there’s money to be made! All you need is the right event, a little publicity. Start out small,

DOM (Cont’d)
work into the bigger stuff. Internet, radio, TV, Get on Oprah!

PAM
Oprah, ha! You got a screw loose you know that? Our, Donny...

Dom puts down the paper and smiles at Pam.

What?

DOM
I think he is. I think he’s, how you say it, blessed.

PAM
You think he is. Or is there “money to be made,” huh?

DOM
He’s a special kid, we both agree with that. Riding a bike at two. Lighting matches by four.

PAM
He takes after Henry.

DOM
He’s always reading the bible. Staying up all hours. Hardly sleeping. Barely eating...studying. I bet he knows more about the Bible than most priests!

PAM
Don’t say that!

DOM
Writing his writings. It’s like a retreat up there. Drawing those pictures on his pants. It’s like a shrine, those pants!

PAM
It’s a pig-sty up there.

DOM
I think something’s gonna happen. I believe he’s ready...he’s gonna
surprise even you! All he has to do is reveal a little bit of that mind of his...POP! A new Revelations! Something, some small little thing that gets the people come running and wham!

PAM
Wash your hands.

DOM
I tell you, Pam, I’ve been reading all about it! Things have been happening around the world. You think Donny’s the only one being affected? Other things,
too. Fish dying. People killing each other. Babies being born without brains!

PAM
So you’re not the only one.

DOM
It’s true! It’s true! And now, it’s happening to your own boy! Our, Donny!

PAM
Ughh...

DOM
It could be a sign! An omen!

PAM
Donny could be an omen? He draws on his arms and talks to lights and you think he’s sent from God? (A beat) The fish are dying? What the hell are you talking about?

DOM
Look at this-

PAM
Shut up and eat your supper.

DOM
All I’m trying to say is look around, he’s not the only one.

PAM
Your gonna be the only one to not get supper if you don’t shut up already! (Yelling) Donny! Donny, come down stairs your supper is ready.


We hear a door slam. Donny descends the stairs. He is shirtless. He wears blue jeans that have magic marker writing on them.
He is caressing his left side with his fingers and holds a BOOK in his free hand. He reads while walking slowly to the table.

PAM
Here he comes. Our savior!

She exits to the kitchen.

DOM
Come here, boy, I want you to look at something. You know it’s bowling night? You’re coming, right? You gotta wear a shirt, though.

Donny slowly walks over and slouches into the chair. Dom brings a paper to him.

DOM
Here, look at this! And this! And these!


Dom leaves the open papers in front of Donny and paces back and forth. A few beats.

DOM
Well?
DONNY puts the BOOK on the table and places his plate on top of it. DOM holds an article in Donny’s face.

DOM
You sure you want to eat on top of the Bible, there Donny?

DONNY
It’s Moby Dick.

DOM
You’re doing code on Moby Dick?

DONNY
It works pretty good, too!

DOM
Hush, you don’t want to tell anybody something like that. Don’t let your mother see you do that.

DONNY
Why not?

DOM
Why not? What are you trying to pull anyway? Are you onto something or are you not?

Donny shrugs shoulders.

Well, crap! (Beat) Anyways, you see this? (Reading) “The Virgin Mary appears regularly,” blah, blah...You see?


DONNY
It happens all the time.

DOM
That’s right! (To Pam in kitchen) You see? You see that? It happens all the time! Donny knows!

Donny starts to scoop a huge mound of pasta onto his plate.

PAM (O.S.)
I don’t want to hear it!

DOM
What are you doing in there?

PAM (O.S.)
Burning the bread!

Donny crams his mouth full of pasta.

DONNY
I’ll take a piece of that!

DOM
Me too! I’ll take a piece. We both want a piece!

Pam comes out of the kitchen holding a basket with the warmed bread, and places it on the table.

DOM
What about this one! “Virgin seen in sky!”

DONNY
Pass the pepper.

Pam passes the pepper and fills her plate with pasta.


PAM
Well, it’s all nonsense if you as me. If the Virgin wanted to show herself she would. You wouldn’t have to read some phony newspaper to hear about it. She’d make herself known!

DOM
And how would she do that?

DONNY
Is there any salad?

PAM
I didn’t have time.

DOM
How, pray tell, would she come down to earth, then?

PAM
Well, first of all, there would be no mystery.

DOM
Mystery is the first rule of being a Catholic!

PAM
She’d show herself for all the people to see. And people would be getting healed! Saved from the misery of their folly!

DOM
But that’s what we’re talking about here!

DONNY
Statues are giving milk.

DOM
What?


DONNY
In India. Statues are giving milk.

DOM
Milk? Really? You hear that? They’re milking statues! That miracle enough for you?

DONNY
Not milking! Milk is coming out of the statues! In India.

DOM
That’s what I said!

DONNY
Not milking! It’s just coming out!

DOM
What do you mean, it’s just spraying out all over the place? Like a car wash?

PAM
That’s crazy talk!

DONNY
Frogs are being born deformed.

PAM
Maybe they drank the milk!

DONNY
Floods. Famine. Disease. It’s all happening right now.

DOM
You hear that? We got to get in on this before it’s too late!

PAM
The end of the world is a scheme now?

DOM
I see shirts with Donny’s writin

Wednesday, October 20, 2010

Bowling For Miracles!


Just finished a play I started 12 years ago. Bowling For Miracles is a satirical play about a man and his nephew who hatch a scheme to make money from a "miracle." They get involved with a small time journalist who blackmails them into going 50/50 for all profits. Add a wacky publicist, a day time TV show and add a dash of nuts, and you get the idea. I think it’s one of the funniest pieces I’ve written. The play is a statement on pop culture, celebrity, greed and the out of whack values in this country. Stay tuned for updates.

Wednesday, October 6, 2010

What is "realisitic" in film and theatre?


Few of us are experts on all things. Most of us don't know how closely a spy show parallels reality, if military movies are realistic or if a moon shot can actually be done in the way portrayed in film. The two things that binds us (and we can each agree to some degree of expertise in a chosen field), technical knowledge and innate knowledge of human nature. It is the latter I am referring when I recall whether something is realistic or not. Too many people are hung up on technical jargon, time lines, and events to actually consider the realistic response of the players. We as human beings recognise good or bad acting. Why? Because we see the human response as our area of expertise. If an actors performance is multilayered, spontaneous and evokes an emotional response in us, we recognize this and are impressed. If an actor's portrayal of true emotion if off the mark it is blatant and unforgivable. So, what is realistic? Are we talking about circumstances within a film or the emotional life of the actors? I've found that non-reality, as far as plot and circumstances, can swing wildly away from "truth" given the right circumstances and the audience can accept this."Twilight" is a good example of this type of film. As long as the characters act and behave according to the unspoken or even elicited rules of their world, and have true emtional reponses to circumstances. But once an actor starts to behave in an irrationally emotional way, it just doesn't work anymore. (except if they are crazy, then that will not carry a film) So when I hear people going on about how "unrealistic" a film is, they are usually referring to the plot and circumstances rather than the acting. But I ask you, was "Animal House" realistic? No. Were the character responses within the arc of the story real? Yes. So we accept the film as being good. What about "Saving Private Ryan?" Was that realistic? I've often heard it said that the battle scenes were very realistic. So be it, but in truth films stack events in such a way as to build tension and thus are artificial by definition. All fiction is unrealistic by defintition. In adapting a true story to film, for example, reality cannot sustain the tension of a dramatic 2 hour epic without the events being manipulated into a dramatic arc. This is because that is not the way life is lived. We live in a jumble of the mundane and dramatic. Films are condensed, events are manipulated, timelines are changed, characters are often compilations of many character traits of certain key players plucked from reality. In other words, a true story has ever made it to the screen that has not in several ways been changed by the dramatic process. Drama is tension, conflict, and release. The same holds true for music. In a song there is tension in a phrase, built up by another phrase and then a release at the end. In essence a good song, let's say, Bungalow Bill, by the Beatles, is a mini dramatic theme similar to a short story. So, my point is this: When I hear someone criticize a film as being unrealistic, I consider a few things: Are they talking about the technical aspects of the story, the acting, the suspension of disbelief or all three? A good film sets up a premise in a false world that, hopefully, an audience will accept. If we have trouble getting past the world in which the characters live, we will not be able to suspend our disbelief. But if a movie is well acted, the characters live in a world that we can accept and things happen within the rules of that world, then it is, in essence, "believable." If, however, you get hung up on technical jargon, procedures, and timelines, then you will not be convinced to invest your 90 minutes. In my short play, "Do You Want Chili Cheese Fries with That?" I wanted to demonstrate the horror of killing someone. The person who does the killing knows the victim and has tried to forge a bond with him, even though he is not a fellow soldier, but an Iraqi national who has volunteered to help the Americans. So the dichotomy of the death is complicated by three factors: 1. The killer knew the victim. 2. The victim could have been working for the enemy. 3. The killer is stuck in a cave with the victim for several minutes to contemplate what he has done. Now, in reality, the soldier doing the killing probably would not have felt too much at that moment. Perhaps days, months or years later, I feel, it may have come back to haunt him. So I compressed time and had what I thought may be some future response to killing his acquaintance. Furthermore, his response was not only compressed but elaborated on by speaking his thoughts out loud. These two factors, compression of time and speaking his thoughts were an UNrealistic response considering the circumstances and timeline, but they were necessary in order for me to drive home a point. When this short play got some attention from a movie director who wanted to make it into a short film, I was confronted by the fact that these were unrealistic circumstances and suddenly they, and consequently I, became enamored with military jargon, realistic circumstances of the mission they were on, etc. And it got to the point of considering what kind of radios they had and how would they talk to each other on them. Several re-writes ensued andf finally, it came down to the point that the soldiers response would not be as written. I found myself in a position of defending my play and my film. Eventually, the inevitable happened, as so often with films, and the project got dropped due to lack of funds. But my point is, they took an idea and tried to weave a different reality around it due to a change of medium, when in fact, I felt they didn't have to do any of that. Still I went along with it, all in the name of realism. My point being, realism or reality has less to do with setting up dramatic events or structure than you may think. There are those who think that if you choose a specific technical subject, for example the film, "Crimson Tide," Starring Danzel Washington and Gene Hackman, you MUST be dead on at all times regarding reality and precedure. In this film, Danzel plays a submarine commander who goes against his captain’s orders to deploy nuclear missiles because a certain protocol has not been met. The film was taught, well acted and, I thought, realistic. When I asked the wife of a submarine commander, my neighbor at the time, about the film, she told me her husband said it was a load of crap. Very unrealistic and stupid. So, was he referring to the plot, the action, the acting or the technical jargon? He was referring to the plot. This would never happen due to certain protocols aboard ship. Hmmm. He was also referring to the way the characters acted. It would never happen. Period! The public didn't know this and the movie didn't suffer because of it. It made tons of money. But you see, they had to ignore the reality in order to get to the drama. Which is my point. So, next time you hear someone say a movie is not real, tell them, that's right. It's just a movie.

Friday, October 1, 2010

Dream State


Play Back

The car moves quickly and quietly through passages of indistinct dark and light. Shadows slide by faintly illuminated guard rails outside my window and beyond that, to my right, very far down, water. I turn to the driver. He’s a heavy set man with a dark five o’clock shadow and thick eyebrows. He looks not at the road, is fishing around for something, his eyes darting down to the seat and back to the road. Communication is nil. It’s already set in motion. I’m only along for the ride. But I have to try.
“Stop the car,” I yell.
He looks in my direction, smiles, like I’d paid him a gentle compliment. I turn down the sun visor and gaze into the mirror. It’s not me I see but a dark haired woman sitting in the back seat. She smiles. Her mouth moves but I cannot hear her. The moment comes: The truck comes at us, swerving all over the road, the piercing sound of tires skidding across cement, an instant shock, a slap to the head and we’re falling off the bridge into the river. My stomach flies around in my chest; my heart pulses to burst my veins. Then the smack of hitting the water, the look on his face when he turns to me, the crunching of vertebra as my cheek melts into the steel door. I see it in his eyes. He knows. All was lost. Death rears and there was no escaping. It’s happening no matter what I do.
Stop.
Stop time and see who he is. Can I start at the beginning, play it back?
Yes. I’m in the car again. We’d turn onto the bridge. What can I do? I unlatch the glove box and search for papers. Who is it this time? A name pops into my head as I try to read the registration. Then a flash of light, the crunching of vertebra as my cheek melts into the steel door. I’m in the water now, helpless, sinking down, trapped in the car, cold water envelopes me, bubbles escape my mouth as I scream his name.
”Carrillo. Pablo Carrillo.”
Then I woke up.
That was the first time I manipulated a dream to see who I was going to save.
The dreams first started about the time I turned thirty. I was walking home one early Sunday morning after a party in the East Village. I’d been drinking since about ten that evening and had a wonderful time chasing a girl I liked, trying to get her to go out with me. I failed in my attempt, however, and had way too much to drink. With time on my hands and little money for cabs, began the walk the fifty-something blocks back to my apartment. It was cold. Anemic flakes slowly began falling around me. After a while the snow stopped melting on the sidewalk and began a rapid accumulation. The light sputtering transformed into a white curtain and obscured anything beyond a half block in any direction. As I trudged on, the wind began to pick up. Swirling blasts of snow hit me in the face, numbing my cheeks and nose. I picked up a newspaper from a trash can and held it over my head. I looked down for protection, watching one foot step in front of the other. That was when I noticed the blood. There was a large drop of red on my shoe, then another on my knee. I put a finger to my nose and returned thin shades of red liquid. I collected snow and put it to my nose. Feeling woozy, I made it to the doorway of my apartment, unlocked the door and staggered into the building. I fell down, tried to recover but hadn’t the strength, and in the hallway I passed out.
I had the first of many special dreams. I didn’t realize it at the time, but the bits of information I was acquiring through this “dream state” would later enable me to save peoples lives. The information, or dream data, came to me in bits of short, black and white moving images, similar to a video clip. Micro movies I played back in my head and try to comprehend, but only if I woke up immediately. If I didn’t wake up immediately after, the information would slowly dissolve from easily remembered pictures into a mist of crumbling bits of black and white. I didn’t choose this to happen to me. I didn’t believe in ESP, mind melding, kinetic energy transference, time travel or anything else you can cram into that shit-box category. I was just an ordinary guy.