Throw your dreams into space like a kite, and you do not know what it will
bring back, a new life, a new friend, a new love, or a new country.
-Anais Nin, author (1903-1977)
This following piece is inspired by the recent success of a friend...actually it's going on as we speak...That much is completely true...
NEVER HAPPENED
So here I am, sitting in my very own assigned chair, on the set of my very own movie, hearing the words I wrote coming out of the mouths of the actors playing the characters I have written for them. Of course, the director, who is yelling “Action!” is thinking this is his movie, and the star, about to say her lines, is thinking this is her movie, and pretty much so is the producer and the director of photography and the production designer and so on, to somewhat lesser degrees, down the line. But I know in my case this is true, as all screenwriters who come up with original screenplays born completely in their minds know. This is my movie.
This is my one week on the set, and I’m told I’m lucky to get that. The industry standard is for the writer not to be on the set at all. This I don’t really understand, and said so. All the producer could say was that it “wasn’t usually done,” but no one could say why. So when I was asked to be “flexible” as far as what I got up front for my work and what I got on the back end, I threw in a week on the set as something that I could get in return for taking less up front, and they agreed. I’ve even had occasion to do some quick rewrites on a scene or two, so it’s been working out all around. Obviously, it’s pretty thrilling for me. It’s a first, and in this business, who knows, could be a last as well.
Then something happens. Something unexpected, to say the least. They are filming a love scene, the only one in the movie in fact, and the character named Ed is about to kiss the character named Maddy, and out of nowhere he leans in and…bites her. On the neck.
She yelps, before he can actually break any skin. He jumps back, letting out his own yelp. You can tell from the look on his face that he is as horrified as she is. He is ashen, really. The director yells “Cut!” and S.—the Oscar-winning actress playing Maddy--cries out: “What the fuck are you doing!” to R., the Oscar nominated (twice) actor playing Ed. He cries back “I don’t know! I don’t know what came over me!” and everyone is still and shocked and then suddenly everybody’s talking at once and it’s general pandemonium. Normally, it might be assumed to be a part of some elaborate practical joke, but everyone knows this was no joke. We don’t have the budget to waste valuable shots on practical jokes, and the actors know this.
But they don’t know something I know, something that sent a chill up my spine as I soon as I saw what happened. Something I don’t dare share, that I can’t share. It’s too impossible. And yet the only thing that makes sense.
I stand there open-mouthed, paralyzed, and suddenly I feel the eyes of Ramona Fleischner on me. Ramona is the Wardrobe Mistress, and she is the one member of the crew who’s been in the business for years and years. Her resume is long and wide and deep. Big pictures, little pictures, studio flics, independents, and two Oscars to her name—I can’t remember for what. She’s in her seventies, and the only one no one says anything to as she puffs away on her Marlboro Lights on the otherwise smoke-free set.
She walks straight for me, cigarette in hand, her eyes like lasers over the half-moon bifocals that never leave her face. I spoke to her once, when I was introduced to everyone, and had been a little taken aback when she seemed to “tsk, tsk” upon hearing that I was going to be around a few days. “Bad luck” she’d muttered. “Bad luck. And you’ll be bored out of your mind, I guarantee you. It’s mostly just waiting around, you know.”
I’d answered that I brought my laptop, and would be working on a rewrite of another script in my downtime, so wouldn’t get bored. She’d cocked her head skeptically, and walked away without so much as a handshake. And now she’s in front of me, the inquisitor.
“Your new script. The one you’re doing rewrites on. It’s a vampire movie, isn’t it?”
My jaw drops. I am completely flummoxed. It’s the truth, and there’s no way she could have known about it. No usual way, at least.
“You’re thinking about it, aren’t you? Even while you’re watching this movie being shot, you’re thinking about the other one, aren’t you?”
I recoil at her accusation, all the more because I cannot dispute it. I feel faithless to my own work, at the same time, a saboteur of it.
Ramona presses her attack. “Don’t you see? This is why screenwriters don’t get to see their scripts filmed. This is why they are usually banned from the set. What goes on in your heads, it infects the actors. I can’t explain it. No one can. It just is. Go home.”
At this point she has been overheard by others, and they seem to be forming a circle around me. I have not said two words since the moment of the almost-bite, and yet the atmosphere has been poisoned against me. Though it feels as if somehow it is I who have poisoned it.
There is nothing to do but flee, to let them resume filming without me. I know, somehow, no one will follow me to the trailer to convince me to stay, in fact, as soon as I get my laptop and knapsack, there will be a car waiting to take me to the airport. One of the best moments of my life has suddenly turned into one of the worst.
And yet there is more. You will understand when I tell you that I am not the one writing this. My friend Marc is writing this. My friend Marc, who was also a screenwriter once, and who is supposedly happy for my success, is writing this. I don’t know what his problem is, why can’t he just help me celebrate my moment, with silent support? Why must he create this outrageous fiction to undercut me? Does he fancy himself Charlie Kaufman or something?
The character names are not Maddy and Ed, and the initials of the actors are not S. and R. There is no Ramona Fleischner, no “deal” made for me to be on the set, my presence has been requested since the beginning. There is a vampire script, and Marc read it, but I wrote it years ago and haven’t touched it since. This is just a lame attempt to divert attention from me to Marc, who is clearly rather more envious than he let on.
I tell all this to the driver, and ask him to turn the car around. He does so, as he sympathizes with my plight. “That’s terrible! What kind of a friend would want to ruin such a moment for you?” I breathe a sigh, relieved at his reaction. I will explain it all back on the set, and everything will be fine.
When we arrive back, the driver jumps out and opens the door for me. He smiles, and the roof light is just strong enough to glint off his fangs…
This is not happening.
Honestly, this is not happening.
MCO 2005