Wednesday, January 09, 2008

Even More Medea

Here is the next section of the endless gabfest known as the Mass Medea screenplay.

Part 1 is here. Part 2 is here.

"Mass Medea"
An Original Screenplay

EXT. JANICE’S APARTMENT BUILDING - DAY
ESTABLISHING SHOT

There is a moving van parked outside Janice’s apartment building.

INT. JANICE’S APARTMENT - DAY

It is a week or two after the previous scene. Janice is in the living room taping up a box. She is dressed in sweatpants and a T-shirt and has obviously been lugging stuff. Carol comes in the front door.
CAROL
Oh, good, I didn’t miss you.

JANICE
No, I’ll be here for quite some time. You don’t realize until you move just much crap you’ve got. Today has suddenly turned into an Ionesco play. I envision all my possessions clogging the subway and stopping the flow of rivers. Did you see George on the way up?

CAROL
I think he was having a massive coronary in the back of the moving van.

JANICE
Oh, good. I thought he had run off.

CAROL
(getting a little teary)
Anyway, I have to get back to work, but I just wanted to say goodbye.

JANICE
Carol, it’s not like I’m moving to Bora Bora. It’s only a few blocks. We’ll probably see each other just as often anyway.

CAROL
I know. I just liked the idea of having you around.
(pauses)
Wow. Your own apartment. Almost like a real grown up.

JANICE
I know. How scary is that?

CAROL
Anyway, I have to get back, but...

JANICE
Yeah.
They hug.
JANICE
I’ll call you. We’ll go out next weekend.

CAROL
That sounds good. Good luck!

JANICE
Thanks.
While Janice and Carol are hugging, George enters. He is wearing a ratty T-shirt, shorts, and a Giants baseball cap and has obviously been lugging a great many things.
GEORGE
Uh, oh. What am I intruding on?

JANICE
Nothing.

GEORGE
Should I make some Jell-O?

CAROL
Jell-O?

GEORGE
For you to wrestle in.

JANICE
(hitting him lightly)
Pig.

CAROL
Sorry to spoil your fantasy.

GEORGE
You’re not the first.

CAROL
Gotta run. Call me about next weekend. Take care, George.

GEORGE
Et tu.

Carol exits. George collapses into a chair.

GEORGE
Is there much more? I’m getting way too old for this.

JANICE
George, you’re 25.

GEORGE
I did have a mid-life crisis when I was 13. If there’s such a thing as predestination, well, I’m just saying...these could be my autumn years.

JANICE
Can I ask you a favor?

GEORGE
Does it involve carrying another box that contains what I can only assume is your gold ingot collection?

JANICE
No.

GEORGE
A complete set of the entire Lanthanide series of elements?

JANICE
Now I have no idea what you’re talking about.

GEORGE
Ah, Periodic Table humor.

JANICE
Periodic Table. Is that like an occasional table?

GEORGE
Waka waka. But my question is, what’s an occasional table when it’s not a table? Inquiring minds want to know.

JANICE
Well, was that fun for you, sweetie?

GEORGE
Ah, right. Your favor.

JANICE
Neal gave me my first feature assignment and I’ll be finished with it on Monday. Would you mind reading it and giving me some feedback before I give it to Neal?

GEORGE
Of course.

JANICE
Of course you’d mind, or...

GEORGE
Of course I’d be happy to read it, O Queen of Grammar.

JANICE
I want you to be completely honest and objective.

GEORGE
Naturally.

JANICE
I mean that. I don’t want you to think that...you know...just because we’re dating...

GEORGE
I won’t.

JANICE
I really want to get good at this. If you tell me it’s not good it will in no way mean less sex for you.

GEORGE
It’s good to not have that weighing on my mind.

JANICE
Anyway, speaking of weighing, another box for you.

GEORGE
Oy.
He struggles to his feet.
GEORGE
How come you don’t have any stuffed animals or dolls or anything like that? I could carry those.

JANICE
Well, George, part of it could be that I’m not 8 years old. Come on, the sooner we get done, the sooner I can...reward you in the way you like to be rewarded.

GEORGE
If I survive. I may need to use Viagra on my entire body.
He grabs the box and staggers out the door.

INT. RECEPTION AREA - DAY

The Cool Gadgets reception area, mid-morning. Terri is standing at her desk staring off to the left. George enters, carrying a large box.
GEORGE
This is getting to be a bad habit.
Janice runs past and opens the glass doors for him. He sets the box down in front of the elevator, where there are three others. He huffs for a moment, then hits the Elevator Down button. Janice is staring at him expectantly. George notices her staring at him.
GEORGE
(à la Timmy from Lassie)
What is it, girl? Grandpa’s caught in a well? Down in Deadrock Canyon?

JANICE
Did you read it?

GEORGE
Did I read It, the Stephen King novel? I’m afraid I never did.

JANICE
You know what I mean.
Neal comes out of the reception area with a small luggage cart.
NEAL
George, I forgot I had this luggage cart in my office.

GEORGE
Now he tells me.
Neal and George hurriedly load the four boxes on the cart, finishing just as the elevator arrives and opens. Janice holds the doors as Neal and George wheel the cart into the car.

INT. ELEVATOR - CONTINUOUS

The doors close.
JANICE
You know what I’m talking about.

GEORGE
Yes, I do.

JANICE
So what did you think of my feature story?

NEAL
Yeah, George. What did you think of her feature story?

GEORGE
I thought—
(pauses, looks at Neal)
Et tu, Neal?
Neal smiles.
GEORGE
I liked it. I thought the story developed logically, it was well-written, and you have a good handle on the technology. Naturally, Carl will tech edit it, and there are a few things Neal will probably change, being the anal-retentive, comma-chasing bastard that he is, but aside from a few copy editing things, it was good.
The elevator stops and the doors open into the lobby of the building. Janice holds the doors as George wheels the cart out, followed by Neal.

EXT. COOL GADGETS OFFICE BUILDING - CONTINUOUS

They emerge from the front doors of the building onto the sidewalk. George wheels the cart to the curb and Neal hails a cab.
JANICE
Copy editing things? Like what?

GEORGE
Like what? I don’t have a photographic memory. Um...well, OK: it’s a common mistake, but “myriad.” You misused “myriad.”

JANICE
“Myriad”?

GEORGE
It’s an adjective, not a noun, so there are not, for example, “a myriad of file formats,” but rather there are “myriad file formats.”

JANICE
Ah.
A cab pulls up and the CAB DRIVER pops the trunk. He gets out and helps Neal and George stack the boxes in the trunk.
JANICE
What else?

GEORGE
(while loading boxes)
Janice, I’m a little preoccupied here.

JANICE
I’m sorry, dear, is it too intellectually challenging for you to load boxes and talk at the same time?
The Cab Driver and Neal exchange glances and a smile.
GEORGE
No... Um, OK: in a couple of cases you spelled the possessive pronoun “its” with an apostrophe. Happy?
The boxes loaded, the Cab Driver SLAMS the trunk and gets in the driver side door. Neal, George, and Janice get in the back seat.

INT. CAB - CONTINUOUS
CAB DRIVER
Where to?

NEAL
Moscone Center.
The cab pulls out.
JANICE
I do know the difference between the pronoun “its” and the contraction of “it is.” It was just a typo.

GEORGE
I know. But you did use one of my favorite words, so you get brownie points for that.

JANICE
Which word was that?

GEORGE
“Juggernaut.”

JANICE
One of your favorite words is “juggernaut”?

GEORGE
It has a great etymology. It comes from the name of a Hindu temple and religious procession in India and this immense carriage that rolls across the sand. Overly eager pilgrims are said to fling themselves in front of it to be crushed beneath its massive wheels. It’s been said that Westerners exaggerated the story a bit, but it did spawn the word “juggernaut,” which has come to refer to any force, company, or institution that crushes everything in its path.

JANICE
I never knew that.

GEORGE
My other favorite word, just on strictly aesthetic terms, is “isosceles,” but it’s harder to work that into everyday conversation, let alone a news story.

JANICE
“Isosceles”? Like the triangle?

GEORGE
Exactly. It’s just such fun to say.
(slowly and sexily)
“Isosceles.”
The Cab Driver casts an odd glance in the rear-view mirror. Janice LAUGHS.
GEORGE
(turning and waving at Neal)
Isosceles, Neal!

NEAL
Actually, I like the word “galore,” as in “food and drink galore.”

GEORGE
Or “Pussy Galore,” from the James Bond movie.

NEAL
Right. As far as I know, it’s the only case in the English language where not only did a word come from a foreign language—-in this case, Irish—-but its construction did, too. You have to respect that about a word.

GEORGE
Good point. Hey, are we complete dorks or what?
The cab stops outside the Moscone Convention Center.
GEORGE
What’s our booth number?

NEAL
1530. Carl should be wandering the floor somewhere. He had appointments all morning.
(checks his watch)
I have to run to an 11:00 press conference. Let’s rendezvous at the booth at 11:30.

GEORGE
Gotcha.
INT. CONVENTION CENTER - DAY

Within the convention center is a computer industry trade show. There are several rows of booths, the exhibits spanning a wide range of computer hardware, software, and peripheral products. George and Janice are in booth 1530. At the back of the booth are several large posters bearing several covers of Cool Gadgets magazine. The boxes George schlepped are opened, and George and Janice are taking issues of the magazine out of them and fanning them out on a counter at the front of the booth.
JANICE
(looking around at the crowd)
They do tend to pack them in for this show.

GEORGE
This is nothing. This is just a small local computer graphics show. You should wait until we get to Comdex in Vegas.
Walking down the aisle toward the Cool Gadgets booth are Ivan and Flo.
IVAN
Here’s Cool Gadgets. They’ve got a pretty lame booth for such a high-profile magazine.

FLO
Ivan. Be nice.
They approach George and Janice.
IVAN
Good morning.

GEORGE
Good morning. We’re still setting up…can we hook you up with a subscription?

IVAN
We already get your magazine.
Flo notices George’s name badge.
FLO
You’re George Stein. I read your articles all the time. You’re a terrific writer.

GEORGE
Thanks.
(squints to look at Flo’s badge)
Florence Estrine, publisher of Modern Electronics. I know the magazine well. Nice to meet you.
They shake hands.
GEORGE
This is Janice Franken, our editorial assistant.

FLO
Nice to meet you.

JANICE
And you.

IVAN
Ivan Verdeschi, Group Publisher for the Consumer Electronics Group at Juno Mass Media.

GEORGE
You guys flew all the way from New York for this little show?

IVAN
There’s a lot happening with digital cameras, and most of it’s in the graphic arts at the moment.

GEORGE
Seen anything cool?

FLO
Lots. I wouldn’t even know where to begin.

IVAN
Besides, we’d like to be able to scoop you guys at some point.

JANICE
(innocently)
Good luck.
That iced up things pretty well.
IVAN
Right. Well, we’re only here for the day. Good to meet you.

GEORGE
And you.
Ivan and Flo move along.

Carl enters. He looks harried, but looks after Flo and Ivan suspiciously.
CARL
Christ, what did they want?

GEORGE
Just saying hi.

CARL
I bet.

JANICE
They seemed nice enough.

CARL
Bullshit. That woman is a shark. A friend of mine used to work for Modern Electronics until he was fired in the aftermath of what has come to be known as “The Night Flo Went Nuts.” It was after our circulation passed theirs. Apparently, she went ballistic and fired the entire editorial staff.

JANICE
Wow.

CARL
She was going to fire the entire sales staff, but it was pointed out to her that having to replace the entire staff in under a week would be a phenomenally bad idea.

GEORGE
That wouldn’t be good, no.

CARL
Plus, she and Ivan—-yes, he pronounces it “EE-van”—-have some kind of “thing” going on which I don’t even want to think about.

GEORGE
Flo has been sleeping her way to the top? It’s probably not that surprising.

CARL
No, but it’s sad. Let’s face it, you really have to have given up completely on life to sleep your way to the top of an organization like Juno Mass Media. Anyway, just remember that they hate us with the white-hot intensity of a thousand suns and would seek any way they could to destroy us.

GEORGE
I didn’t know computer magazine publishing could get so Dickensian.
Neal enters.
NEAL
Hey, guys.

CARL
George and Janice just had an abrupt meeting with Frank and Hot Lips from Modern Electronics.

NEAL
They came out here for this show? Whatever. Anyway, George and Janice, why don’t you walk the floor for a while, say hi to some folks, get whatever demos you think are worthwhile, and meet back here at 2. Carl and I will take turns manning the booth until Dave comes by. Oh, and just a reminder that I want to have a redesign meeting at 4:30 back at the office after the show closes.

CARL
Neal, Brian is out this afternoon. I think we should have the meeting when he’s actually around. I mean, he is the publisher, after all.

NEAL
I know, but I want to come up with a few ideas then have him pick which one he likes. I think it will streamline the process.

CARL
Streamline the process. I see.
Carl looks at Neal angrily.
CARL
Neal, can I talk to you a minute?

NEAL
Of course.

CARL
(looks at George and Janice)
In private.

GEORGE
And we’re off.

NEAL
Again, 4:30 for the redesign meeting.

George and Janice exit.
CARL
What the fuck are you doing?

NEAL
I don’t know, Carl. What the fuck am I doing?

CARL
Brian’s the publisher of this magazine. And more than that, that he’s the founder. And even more than that, he’s one of my oldest friends. And to see you treat him as nothing more than some tech support peon really pisses me off.

NEAL
As much as I like the play on words of “pee-on” and “pisses me off”—I have to say, in my own defense, I do not treat Brian as some kind of tech support peon.

CARL
“Brian, the network is down.” “Brian, fix our e-mail problems.” “Brian, what’s wrong with—“

NEAL
Carl, you’re being melodramatic.

CARL
And you’re being dictatorial.

NEAL
Dictatorial? How am I being dictatorial? Look, I appreciate your loyalty to Brian—

CARL
Gee, I’m so glad—

NEAL
I appreciate your loyalty to Brian, but believe me when I tell you that I am not trying to exclude him from decision-making. It was his idea to skip the redesign meeting.

CARL
And how much did you have to persuade him?

NEAL
Not at all. I admire Brian a great deal, and I have no desire to play office politics.

CARL
You could have fooled me.

NEAL
Well, I apparently have. Sure, Brian and I disagree about some things, and I argue with him about them—-but arguing things that I feel strongly about is my responsibility as someone who gives a shit. I’m not a power-mad dictator, and I’m certainly not trying to squeeze Brian out. He hired me to do a job: make this a successful consumer technology magazine. And he’s seen that I do that very well, so he lets me do the job without a great deal of interference.

CARL
(after a pause, somewhat contritely)
Neal, I’ve known and worked with Brian a long time, and I just don’t want to see him brushed aside.

NEAL
I’m not brushing him aside. Brian’s that rarity: a boss who is actually smarter than the people who work for him. But for certain things, I’m smarter, just like for certain other things, you’re smarter, and for yet other things Helen is smarter. We’re all a team, and I’ve never thought of us—-all of us—-as anything but a team. You’ve got to trust me.

CARL
(with difficulty)
I do. Thanks.

NEAL
I need you, Carl. I need you on the team, and I need you to not think of me as the enemy. I know you like being Mr. Cynical, and I’ll be the first to admit that that’s what gives our coverage the edge it has, but you have to trust me. I know it’s not easy—-and in some ways I’m glad you question my motives.

CARL
Really? Why?

NEAL
(shrugs, then smiles)
You keep me honest—-and from becoming a dictator.
(pause)
I’m starving. Want to go grab a criminally-priced slice of pizza?

CARL
All right.
EXT. COOL GADGETS OFFICE BUILDING- DAY
ESTABLISHING SHOT

Janice and George run up the street and dash into the building.

INT. ELEVATOR - DAY

Janice smacks a floor button, They are both out of breath. George is carrying an obviously heavy shopping bag.
GEORGE
This is the silliest thing I’ve ever done in my life.

JANICE
Then you’ve led a very sheltered life, pumpkin.

GEORGE
We’re supposed to be at the show, and we’re supposed to be back at the booth in 15 minutes. Neal’s going to kill us. And, why again?

JANICE
I can’t use crowded public bathrooms.

GEORGE
So you made me run four blocks back here so you could use our relatively private bathrooms.

JANICE
It’s quite urgent.

GEORGE
And you need me why?
The elevator stops and the doors open.
JANICE
The pleasure of your company.
They both dash out.

INT. RECEPTION AREA - CONTINUOUS

They exit the elevator. George stops. Janice doesn’t.
GEORGE
I’ll wait here.
(checks his watch)
Five minutes!
INT. CONVENTION CENTER - DAY

Carl stands alone at the booth. He is obviously bored. He reaches under the counter and picks up a shopping bag. He rummages within and takes out a small toy car. He places it on the counter. He stares at the car a moment, then starts pushing it around the counter, making engine noises. As he gets into it, Dave enters and regards him oddly. Dave is wearing a short-sleeve shirt bearing the imprimatur of what we can assume to be an unknown hardcore punk band.
DAVE
Dude, what you, Dale Earnhardt?

CARL
(quickly puts the car away)
Trade shows are tediously boring. Hey, thanks for dressing up.

DAVE
(honestly)
I thought I did...

CARL
Have you seen George and/or Janet?

DAVE
I thought I saw them running down Howard Street.
Neal approaches.
NEAL
Hey guys. Have you seen George and Janice?

CARL
They’ve apparently fled the building. Anything to avoid booth duty, is my guess.
INT. RECEPTION AREA - DAY

George is still waiting by the elevator, Janice emerges from the glass doors.
GEORGE
All done?

JANICE
Yes, thanks.
They kiss. Janice hits the Elevator Down button.
GEORGE
Shit.

JANICE
What?

GEORGE
Now I have to go.

JANICE
Doh!
He hands her the shopping bag.
GEORGE
Hold this.

JANICE
Why didn’t you put this in your office?

GEORGE
Because I’m not very bright.

JANICE
(shakes her head)
Do I have to do everything?

GEORGE
Apparently—-just not in public rest rooms.
She playfully smacks him in the arm as they enter the glass doors.

INT. NEWSROOM - DAY

Janice enters, walks into George’s office and puts the shopping bag on his chair. She emerges, and glances into Brian’s office. Brian is at his desk. Across from him are Flo and Ivan. She looks concerned, but no one notices her. She exits briskly.

INT. RECEPTION AREA - DAY

Janice is standing at the elevator. George comes out, just as the elevator doors open. Janice enters and George runs into the car.

INT. ELEVATOR - CONTINUOUS
JANICE
I don’t know if this means anything, but those two people were in Brian’s office.

GEORGE
Two people. Could you be more vague, please?

JANICE
(slightly irritated by the remark)
The ones we met this morning. From Modern Electronics.

GEORGE
Flo and, what’s his name, Ivan?
(shrugs)
Don’t know. They’re probably old friends or something. Brian knows everyone.

JANICE
Yeah, it’s probably nothing.
DISSOLVE TO:

EXT. MODERN ELECTRONICS’ OFFICE BUILDING - DAY
ESTABLISHING SHOT

INT. FLO’S OFFICE - DAY

Several weeks after the previous scene, Flo is at her desk, reading something on her computer screen. Ivan appears at the door.
IVAN
Ready for this?
Flo swivels around slowly.
FLO
Just once I’d like you to come in here with good news. Just once. Is it too much to ask for you to--

IVAN
I have good news.

FLO
--to come in here—-
(beat)
Good news?

IVAN
I have good news.

FLO
Dare I dream it?

IVAN
The “Eddy” nominations have been announced. We have five nominations.

FLO
Five? Really?

IVAN
You bet your ass.

FLO
That’s better than last year. What categories?

IVAN
Best News Story, Best Editorial Illustration, Best Cover, and Best Table of Contents.

FLO
Best Table of Contents? That’s a category? What, did they get a special discount on plaques? Wait—that’s four. What’s the fifth.

IVAN
It’s pretty minor.

FLO
Ivan...

IVAN
(sighs)
Most Improved Publication.

FLO
Most Improved Publication?! What the fuck was wrong with it before? Didn’t we win Best Publication three years ago?

IVAN
We did.

FLO
Wait—-so we’re not nominated for Best Publication this year?

IVAN
No.

FLO
Who is?

IVAN
No one we know.
She jumps up and grabs the paper from him. She reads it.
FLO
Damn it!
She flings her reading glasses across her desk. Ivan makes no move to grab them, and they fall to the floor.

INT. NEWSROOM - DAY

Janice is sitting at her table. Behind her, in Neal’s doorway, Neal and Helen are conferring. George and Brian are at their respective desks. Carl enters.
CARL
Helen, I need the most embarrassing picture of any of your grandkids you have.

HELEN
What the hell for?

CARL
I’m testing some new image editing software. Which one do you think would look good with a third eye?

HELEN
Graham, for sure. Oh, by the way, I made some cookies for everyone. They’re in the breakroom.

NEAL
What’s the occasion?

HELEN
I had to make some for a bake sale at Graham’s school, then Laney needed a batch for some party her class was having, and it got to the point where I just couldn’t stop making cookies.

CARL
(shakes his head)
Making cookies for the grandkids.
(mock outraged)
What I want to know is, where are the parents?

HELEN
In India on some weird-ass yoga retreat.

GEORGE
“Yoga retreat”?

HELEN
I have no idea. As I think I mentioned on one or two occasions, my daughter went—um, how to put this politely?--totally batshit crazy when she met what’s-his-granola. She used to be a respected physics professor at Stanford. Now she’s communing with nature and reading people’s chakras. Anyway, When Granola Man came up with the idea to rename the kids, then I knew I had to do something.

GEORGE
Rename the kids what?

HELEN
Oh, I don’t know. River, Rain, Snow, Sleet, Unseasonable Warmth. Who the hell knows. I love this city, but it has its crazies.

CARL
You think?
Brian emerges from his office holding a sheet of paper.
BRIAN
(to staff)
Hey, everyone. Come gather round.
George comes out of his office and everyone stops and stares at Brian.
HELEN
There’s good news?

BRIAN
Yepper.

GEORGE
My, you’re in rare form today.

BRIAN
The good news is this. The nominations for the Eddys are in.

JANICE
“The Eddys”?

GEORGE
The Magazine Editors Awards.

JANICE
Ooh!

NEAL
I assume from your giddiness that we’re nominated for something?

BRIAN
Give that man a cigar, and no Clinton jokes. I mean really, because we picked up six nominations.
A hubbub of excitement runs through the staff.
NEAL
What categories?

BRIAN
Best Cover-—that would be for the issue for which Helen did that cellphone/PC morph.

GEORGE
Woo hoo! Way to go Helen!

BRIAN
We are also nominated for Best Feature Story—that would be Janice Franken’s “E-Commerce Rising.”

CARL
Your first feature. You get a nomination right out of the gate. Yee-ha!

BRIAN
Best Editorial, which was Carl’s “On Technology,” the one where you traced the history of technology from the plow to Windows 98. We also got Best Interview or Profile—that would be George’s Camilla Dane interview. And we got Best News Story, which was Ed’s story on Amazon.com. So congratulations all of you. Since the awards ceremony is here in San Francisco for a change, I say let’s all get dolled up and go.

CARL
Absolutely. And there will be a party at my place immediately following the ceremony.

BRIAN
Wow, you never have parties.

CARL
I never have a reason to.

JANICE
When are the awards?

BRIAN
January 15.

GEORGE
What a way to welcome in the new millennium.
INT. BALLROOM - DAY

The night of the Eddy Awards. The ballroom is large and seats a few hundred people, all of whom are in various states of formal dress and sit around round tables taking before the festivities start.

Brian, Carl, Janice, Neal, Helen, Jean, Terri, Dave, and one other, ED, sit around one of the tables gabbing. George enters carrying a wine glass and a bottle of beer. He places the wine glass in front of Janice and sits down next to her. She has been talking to Ed.
JANICE
Thanks, sweetie. George, did you know Ed grew up almost in my neighborhood? It was an even smaller town than Perth.

GEORGE
Why’d you leave?

ED
I saw Deliverance.
Terri is talking to Brian. She is wearing a very nice and very revealing dress.
BRIAN
So how come you don’t have the magazine’s logo tattooed on your body somewhere?

TERRI
Cause I’m not a complete fucking dork.

BRIAN
That’s a fair point.
Neal is talking to Helen and Jean. Neal has had a few. Their exchange is playful.
NEAL
(he takes a piece of paper from the table)
So, Jean, how come you’re not changing the layout of the event program to fit in another ad?

JEAN
How come you’re not running around screaming like SpongeBob Square Pants because I made a tiny change?

HELEN
Children. I’ll turn this ballroom around right now.
Carl is talking to DAVE.
CARL
I like the idea of Linux, but I guess I’m partial to operating systems that have, I don’t know, applications that run on them.

DAVE
You’re so damn picky.

CARL
I mean, any platform is stable if you never actually run software on it.
Ivan and Flo walk up to the table.
FLO
(she’s had a few)
Here they are, the stars of the consumer electronics publishing industry, looking down on us as if from Mount Olympus.

CARL
Olympus? Nah, I prefer Fuji.

GEORGE
Mount Fuji?

CARL
Ah, mount him yourself.

IVAN
A regular Algonquin round table you’ve got here. Flo, I’m not sure we belong here.

CARL
I never engage in a battle of wits with an unarmed man.

BRIAN
Carl, behave.

CARL
I am being have.
FLO
I just wanted to say good luck tonight.

BRIAN
(politically)
And you, too.

CARL
Kick ass with that Best Table of Contents Award.
Ivan looks like he’s about to slug Carl.
BRIAN
Carl!

FLO
Ah, hubris. “Pride: the first peer and president of hell.” Come on, Ivan.
They move to another table.

BRIAN
Carl, I love you like a brother, but you can be a real asshole sometimes.

CARL
Just having a little fun.

BRIAN
Well, it may come back to haunt you.
EXT. CARL’S APARTMENT BUILDING - NIGHT
ESTABLISHING SHOT

DISSOLVE TO:

INT. CARL’S LIVING ROOM - NIGHT

It is the same evening, just after the awards ceremony. Carl’s apartment is very spartan—-there are a few chairs, but that’s about it. There is a small bookshelf on one wall. Contrary to what you would expect, there are no gadgets, appliances, or anything else to suggest that Carl is an expert on technology. There isn’t even a television. Carl, Brian, Janice, George, Neal, Helen, Jean, Terri, Dave, and Ed are standing and sitting around, drinks and snacks in hand. Everyone is in extremely high spirits. Brian stands and holds a drink aloft.
BRIAN
(to the room)
Everyone! Now that we’re all here, I just want to say congratulations to everyone in this room. That we won Best Publication is a coup I never would have predicted in a million years.

NEAL
(good-naturedly)
O ye of little faith!

BRIAN
Everyone in the room is a winner. This was a team effort, from our editor Neal and the writers to the sales guys selling ads for us, all the way down to the circulation department which makes sure that people actually receive the issue! So eat, drink, and be merry—

CARL
For tomorrow we die!

BRIAN
No, no, no. We had a great year last year, and this year will be even better! Y2K was a bust—-

CARL
As I predicted!

BRIAN
…and I have nothing but good feelings about the new millennium. Welcome to the 21st century! To the staff of Cool Gadgets—-the best there is.
There is a resounding “Amen” from the choir. Brian sits.
GEORGE
(embracing Janice)
I’m sorry you didn’t win. I was pulling for you.

JANICE
(sarcastically)
It was an honor just to be nominated.

CARL
Oh, bullshit.

JANICE
Exactly. You know, Carl, this apartment is the last place I would have expected you to live.

CARL
Why?

JANICE
I was expecting some high-tech apartment where everything was automated, and robots opened the door.

GEORGE
Yeah. Jesus, Carl, you don’t even have a TV!

CARL
I spend up to 12 hours a day at work dealing with gadgets. When I get home it’s nice to have some peace.

JANICE
You do have a bathroom, right?

CARL
Did you see the outhouse in the backyard?

JANICE
Huh?

CARL
Down the hall, second door on the right.

GEORGE
It’s not crowded, is it?

JANICE
Just bite me, George.
Janice exits.
NEAL
I need a refill. Anyone for another round?

GEORGE
I’ll come with you. I need more chips. And I want to talk to you about a feature idea I had.

NEAL
OK.
George and Neal exit into the kitchen. Brian and Carl sit in silence a moment.
CARL
You haven’t been around the office very much lately.

BRIAN
I’ve been around.

CARL
Not as much as you used to.

BRIAN
Carl, I used to live in the office at one time. Remember that?

CARL
Those were the days.

BRIAN
You romanticize the past like no one I’ve ever known. Let’s face it, Carl, things pretty much sucked for a good long time. These are the best of times, my old friend.

CARL
What a terrifying thought.

BRIAN
When have things been better? The last two months have been our best ever. Everyone is firing all cylinders. Even Tom Braxton. I don’t know what kind of pep talk I gave him, but I have to say, he rose to the occasion. Life. Is. Good.

CARL
Philistine.

BRIAN
How am I a Philistine? I think selling ads is a good idea, especially if you’re publishing a magazine. We provide useful, practical information to our readers. But we can’t provide that information to our readers if we can’t afford to print the magazine.

CARL
We managed in the past.

BRIAN
(sighs)
Do we have to have this conversation again?

CARL
We had ideas back then. We had ideals back then.

BRIAN
We have the same ideas and ideals now that we had then. We just also happen to have more money now.

CARL
It’s different.

BRIAN
Of course it’s different. We’re 15 years older and that much wiser. Carl, divest yourself of this notion right now: we were not young and idealistic, and we did not have a vision of anything. We started a magazine because we both hated working for other people and other people hated us working for them. So it was either start our own business or sell pencils on Market Street.

CARL
It’s hard to find good pencils on Market Street these days.

BRIAN
And I’d buy all your “oh, the old days were so great” argument a lot more if I didn’t remember that you bitched about things at the time.

CARL
What can I say? Things always look better in retrospect.
George and Neal wander out. Janice returns and physically attaches herself to George.
GEORGE
And what’s going on here?

CARL
We’re reminiscing.

BRIAN
Yeah, that’s something I want to do. This is the 21st century, man. It’s time to look forward.

GEORGE
I know I’m looking forward to it.

Brian stands up.

BRIAN
Everyone! Can I have your attention, please! One last time, I promise.
(everyone quiets down and stares at him)
I was going to call a meeting at the office later this week, but I think I should make this announcement now.
(He pauses.)
We’re all in high spirits right now, as well we should be. But it’s all going to get better. Today-—in fact, this evening at the awards ceremony—-I have decided to step down as publisher of this magazine. This evening, I finalized the arrangements to sell Cool Gadgets magazine.
There is a stunned silence.
BRIAN
Good, everyone is stunned, that’s just what I was going for.

NEAL
You sold the magazine? To whom?

BRIAN
Juno Mass Media.

CARL
Oh, Christ...

BRIAN
They publish about 70 or so other consumer and business-to-business magazines, including—

CARL
Oh, Christ—

BRIAN
Modern Electronics. I’ve been wanting to ease my way out of publishing for some time, and I also felt that this was the best way to take the magazine to the next level. With Neal’s guidance, we made it this far, but with the resources of a large publishing company behind us, the sky’s the limit.
There remains a stunned silence.
JANICE
So...will I finally get a real desk?
There is nervous laughter.
BRIAN
Yes, you’ll get a real desk. There’s no reason to be paranoid about the future.
There still remains a stunned silence.
BRIAN
I’ll explain all the details in a staff meeting on Friday. Now, eat drink and be merry...
Everyone looks at Carl for some kind of retort, but he is sitting quietly. He is deeply hurt.
BRIAN
Carl...
Brian tries to put an arm around Carl’s shoulder, but Carl flings it off. He stands up, glowers at Brian, glowers even more ferociously at Neal, and marches out the door with a slam. Everyone looks after him. He returns, looking sheepish.
CARL
This is my apartment. Damn!
DISSOLVE TO:

To be continued...

Tuesday, January 08, 2008

Even More Ghost

Herewith Chapter 3 of Living Ghost. Chapter 1 is here. Chapter 2 is here.
3.

Syracuse University. He hadn’t thought about that place in—what?—well over a decade at least. He vaguely remembered seeing a headline on the front page of the L.A. Times Sports section that they had won some championship or other, but that was about the closest he ever came to thinking about his college years in a very long while. Well, if you didn’t count the student loan he was still paying off.

The plane experienced a small jolt of turbulence, which woke Tom out of his reverie.

“Would you like anything to drink?” asked a voice to his left.

Startled, he looked over and saw the flight attendant poised behind the drinks cart, staring at him.

“Oh, uh, just a Sierra Mist, please.”

“I have Sprite or 7 Up,” she said.

“Sprite will be fine.”

He really needed to try to sleep on the plane—but two transfers wouldn’t make that easy. He had a lot of work to do when he got back—and he didn’t know how up to it he’d be. He was always less jetlegged flying west than east, but he still spent the day after a cross-country flight feeling like he was suspended in mayonnaise.

The flight attendant handed him his soda and as he took a sip, the closed his eyes and tried to will himself to sleep. But he was still haunted by the basic question: How the hell did this happen? How does a person suddenly wake up 3,000 miles from where he fell asleep? Why was this happening? And, more importantly, why now, right in the middle of the most important project of his career?

There was another jolt of turbulence. His eyes snapped open, and he took another sip of the soda.

“Are you going to Denver?” came a voice from his right. It was an elderly woman in the window seat. She was knitting what looked like a giant oven mitt and she had seen his open eyes as an invitation to start up a conversation.

“Um, no, actually. I change planes in Denver and head to Los Angeles.”

“Do you live in L.A. or are you visiting?”

“I live there, yes.”

“Were you visiting New York City?” They had already changed planes once at La Guardia.

“No, I started in Syracuse.”

“Oh, my, you’ve got quite the trek today.”

“You have no idea,” he said.

“I live in Cortland. What brought you to Syracuse?”

“That’s a very good question,” he said, barely suppressing the urge to smile—for what reason he had no idea.

“Family?” she asked.

“I’m sorry?”

“Were you visiting family?”

“No, the university.” Well, it was true—after a fashion.

“Do you teach there?”

He suspected the questions would persist until they reached Denver. And he really wanted to sleep.

“No, I was…visiting a student.”

“A relative?”

“Not really. Um…” Oh, screw it. “Last night at 1:45 or so I fell asleep in my house in Redondo Beach, California, and woke up this morning in a dorm room at Syracuse University. How I got there, I don’t know. All I do know is that some strange, supernatural force whisked me there in the middle of the night.”

The woman was quiet for a moment, “Then you’d think whatever force whisked you there would have the courtesy to whisk you back home again.” She turned back to her knitting and didn’t speak to him again.

She had a point. Why didn’t he think of that? Of course, he doubted “Mel” would be particularly willing to have him hang around her room waiting for whatever this force was to zap him back to California.

He closed his eyes again and his mind wandered. I’ve been focusing on the what, he said to himself. What about the why? Why me? And why Syracuse? It wasn’t a completely random location. He had, after all, been sent to a place he used to live. And the number 503 rings a bell. Maybe that was the room he actually had lived in. That put a whole new spin on this thing. Why would a supernatural force send him someplace he used to live? Maybe there was a numerical connection. 503. He was 41. He lived there when he was 18. 41-18=23. Hm. 4+1=5. 4x1=4. 1+8=9. 1x8=8. OK, nothing there. His birthday was 8/7. It was 10/2. 8÷7=1.14. 10÷2=5. There’s another 5. But so what? Let’s try, 8+7=15. 10+2=12. 15+12=27. 2+7=9. 9x3.14159= 12.14159. OK, this was a wash. There’s nothing to numerology anyway, so that’s no big surprise, he said to himself.

He started thinking about his four years there. Did anything happen that could perhaps be seen as a preface to this? Like what? Part of his dozing of brain asked, some kind of oracle saying “you will return here against your will-”?


“Dude, you’re gonna return here 23 years from now,” Mark was saying. “You’re gonna fall asleep one night, then—bam!—You’ll be back at Brewster.”

“What a terrifying thought,” he said to Mark, taking a sip of his Sierra Mist. Then he did a spit take. Mark was sitting where the knitting woman had been sitting.

“How did you get here?” he asked.

“I followed you. I didn’t study for my Psych test, and I’ve always wanted to visit L.A. So, here I am.”

“What happened to the woman who was sitting there?” He looked around and there wasn’t even any of her carry-on baggage.

“She got whisked away. I think she’s back in Cortland.”

“Whisked away?” Tom asked.

“Just like you, my friend.”

“Are you behind this?”

“Me? Nah. I don’t know who the ‘whisker’ is but you are the ‘whiskee.’” He seemed to find that hysterically funny.

“I thought you hated puns.”

“I hate bad puns,” said Mark.

“Is there such a thing as a good pun?”

“Fuck yeah.”

“You seem to know more about this than you’re letting on,” said Tom.

“I know more than you do about lots of things. I’m younger than you are, after all.”
He snapped his fingers. “Right. You’re—what?—18, I bet.”

“19. My birthday’s in September.”

“That makes you…22 years younger than me. 2+2=4. Hm. OK, so you would have been born in—what’s your birth date, September what?”

“Dude, what are you doing?”

“Clutching at straws.”

He took a sip of his soda. He swallowed slowly and thought for a moment. “This isn’t Sprite. This is Sierra Mist.”

“You can tell the difference? They’re the same damn thing, aren’t they?”

“No, I can tell the difference. This is definitely Sierra Mist.”

“Big whoop,” said Mark.

“The flight attendant specifically said they didn’t have Sierra Mist. And how did you know the knitting woman sitting there was from Cortland? You weren’t sitting in front of or behind us?”

“I overheard you from five rows back. You are one loud dude.”

“No, no, no. I get it. This can only mean one thing…”

Mark suddenly started sounding like the lead singer of Supertramp. “‘Dreamer! You stupid little dreamer! Now you put your heads in your hands, oh no!’”

“Argh! I hate that song!”

“Denver!” he kept singing. “We’re about to land in Denver! Now you…”


“—please return your tray tables to their full upright position as we begin our final descent into Denver International Airport. Local time is 7:19 p.m. Local temperature is 54 degrees and partly cloudy.”

He awoke with a start. He looked to his right. The woman next to her was returning her knitting materials to her carry-on bag and checking to make sure her seat belt was fastened.

“Sir?” said the flight attendant. “Can I have your cup, please?”

“What?” He looked down at his soda. He took one last sip. Sprite. “Sure. Here.”

She took it from him and tossed it into a plastic garbage bag. She moved on.

“Well, at least we’re only a couple minutes late,” said the knitting woman. “That way you don’t have to scramble to catch your next plane.”

“That’s true,” he said.

“Did you have a nice nap?” she asked.

“Um, yeah. It was OK.”

“You yelled quite a bit. And sang some annoying song I remember from the 70s.”

“Sorry about that.”

As the plane began its descent, he double checked his seatbelt.

From the seat next to him, he could hear the woman absent-mindedly singing “Dreamer.” She stopped and looked over at him. “I’m going to kill you for that.”

Monday, January 07, 2008

The End of Death

And the short story "The Life of Death" comes to a conclusion. Needs work big time, but I think there's something interesting here.

Part 1 is here and Part 2 is here.

The Life of Death (Part 3 of 3)

At first, it was just a completely black void. If I hadn’t felt some kind of surface beneath my feet, I couldn’t even have been certain that I was standing on anything. Then, all around me, I was in some kind of wormhole—which is really the only way I could describe it. It wasn’t that I was passing very quickly through a dark green tunnel, but it appeared as if I were standing still and the dark green tube was simply flowing past me. In seemingly no time, I was standing in an urban kitchen. A cockroach stood on the edge of a stainless steel sink. A middle-aged woman hovered over it, a pink, fuzzy slipper in her hand. The roach was not in good shape; it was flat, and its innards were protruding from both its sides. Yet, it was still moving. The oddest thing was that it was encased in a green light, not unlike the green of the “Mortaloscope” and indeed the portal tube I had just been in. Obviously, the green was to indicate the deceased—although the protruding guts were a pretty good hint all their own. I wasn’t quite sure what to do—but I figured the scythe had to be involved in some way. So, acting on a hunch, I touched the blade to the dying roach, and suddenly, the green light surrounding the roach passed into the blade of the scythe which glowed green for a scant moment, then faded. The roach was still. The woman with the slipper used the footwear to push the carcass into the garbage disposal in the sink.

So that was how it worked. I could feel the Mortaloscope vibrating insistently. I took it out and held it in my extended left hand. I touched the scythe blade to it, and was suddenly transported into the green tube portal again. In no time (it seemed) I was in what looked like the southwest desert of the United States. A tarantula had attacked a kangaroo rat, and it remained for me to dispatch the life force of the rat. Which I did. OK, this wasn’t so bad. So I got out the Mortaloscope again, and, once I got into the swing of things, began zipping from ecosystem to ecosystem. So being Death basically consisted of making sure that predator got prey. That’s not too hard or traumatic. Although, I was quickly finding that it could be exhausting.

Until.

After I had dispatched a few hundred million mammals, reptiles, amphibians, insects, birds, and so on, I suddenly found myself in a wooden shack in what I presumed was Africa. On a straw bed in front of me, shrouded in the telltale green light, was a small child, I would guess no older than four. He (or she—it really wasn’t easy to tell) had obviously starved—and not yet to death. That was what I was doing there. The little figure was really no more than a tiny skeleton that had some dark gray skin draped over it. It was obviously in complete agony—the kind of agony for which death would be sweet relief. And so I touched the edge of the scythe to its little body, the green light was absorbed, and the little body was still. The fact that it was no longer making any noise attracted what I presumed were the child’s parents, who held the little lifeless body and cried over it.

Now I knew what had freaked Dave out—this was heartbreaking. And yet—it had to be done.

I got out the Mortaloscope and continued my rounds. Now I was thick into the human deaths. A not insignificant amount of the elderly, more infants than I cared to think about, a random assortment that cut across all demographic lines. I traveled to Africa, dispatching small children beset by hunger and disease. I traveled back to the United States where a 700-pound man had expired of a heart attack amidst a bed strewn with cupcake wrappers, empty bags of potato chips, and the remains of what looked like a brontosaurus. I visited cancer wards and car accidents. Private homes and public hospitals. If there was one thing that made this job even remotely easier it was taking those who were surrounded by loved ones, who were sad, but wept not the tears of pain but of a good life lived long and full.


I was nearly caught up and I returned to my apartment for a short break before heading out again. Within moments of arriving home, the door burst open and I saw Dave enter the room horizontally a foot or so above the floor. He fell with a dull thud to the carpet. He was immediately followed by a man of average height and what seemed to be of rather indeterminate age; he could have been anywhere between 30 and 70. He was completely bald and his face unlined and, for that matter, devoid of any conspicuous features whatsoever. In some ways, he kind of looked like actor Donald Pleasence, only much more ageless. He was dressed in a white “I Love NY” T-shirt and bluejeans. He was muscular and in good physical shape. As he charged into the room behind Dave, he was not a happy person. More like Donald Un-Pleasence. My assumption was that this was Death. I could see it.

“The point—the whole point—of this exercise was to teach you a lesson,” he berated Dave. He had a deep, resonant voice that scared the crap out of me “And like the miserable schmuck you are, you fobbed it off on someone else.” He looked over at me; I was still wearing his outfit. “Thanks, by the way,” he said to me.

“No problem,” I said, as casually as if I had loaned him a pen.

“This guy,” he kicked Dave’s prone form for emphasis, “is the biggest coward I have ever seen. And I’m eternal.”

“I couldn’t do it,” Dave mewled. “I can’t kill things. Myself, yes. Others, no.”

“Oh, shove it, you pseudo-intellectual putz. You spoiled 21st-century brats have no concept of Death.”

“I’ve read enough philosophy to know...”

Death laughed derisively. “‘Read enough.’ Give me a break. I’m talking about experience, man. You have no idea. You’re all so insulated from death that you have lost all respect for life. It’s all just an intellectual exercise to you. There was a time—just ask the Victorians—when getting something as minor as a scratch could be fatal. Now you slap a Band Aid on and everything is fine. Modern medicine has cured a bewildering number of diseases and other ailments that were lethal to your forebears. And when people do get fatally sick, they’re sent off to hospitals to die and disposed of neatly and cleanly. The funeral industry has expanded to the point where no one need ever actually see a dead body. Its all just an abstraction. So yutzes like you can play your little games with life and death because you have no respect for either. I had hoped that by making you take on the role of Death you could get a little...hands-on experience, some perspective, and maybe an iota of respect.”

He looked over at me. “You,” he said. “I’ll bet you’re a changed man.”

“Damn right,” I said. And it was true. After all I had seen and done, I was not going to take this life for granted ever again.

He took back his accoutrements and was ready to resume his role. He stood over Dave. “So I’m going to make this one final offer. This is the moment you pick life or death. Fish or cut bait. Shit or get off the pot. Because the next time I come out, that’s going to be it.”

Dave wisely chose life.

As he rose to his feet, Dave asked, “So, what’s death like, anyway?”

Death turned toward the door. “I have no idea. That’s like asking a bus driver what lies beyond the bus stop. I’m just the driver.”

And with that he was gone.

I confess, I was profoundly changed by the experience of having been Death, as one would expect, and decided to devote the rest of my life to finding ways to make other people’s lives better. Dave was essentially unchanged, although I never got any more late-night calls. Perhaps he had learned his lesson in that regard.

Every so often, when I walked through a hospital ward, I would feel something unseen brush past me. I think I knew who it was, and was sad that another person had shuffled off this mortal coil.

Satan's Spawn

Gee, no wonder everyone hates the music industry--or, if they don't, they should:
Recording Industry Says Ripping CDs To Computer Is Illegal

Washington (DC) - The Recording Industry Association of America has filed a landmark federal lawsuit in Arizona, claiming that it is illegal for users to make copies of CD tracks to their computer for personal use.

The RIAA is going after Jeffrey Howell of Scottsdale, AZ. The group alleges that Howell shared 54 music files over the peer-to-peer network Kazaa. This kind of complaint has become commonplace for the RIAA, but they added something different to this lawsuit.

Ira Schwartz, an Arizona-based lawyer for the trade group, says Howell is also guilty of making "unauthorized copies" of CD tracks by ripping them to his computer, even though he may never have shared them with anyone else.

"It is undisputed that Defendant possessed unauthorized copies of Plaintiffs' copyrighted sound recordings on his computer," said Schwartz in a legal brief. "Once Defendant converted Plaintiffs' recording into the compressed .mp3 format and they are in his shared folder, they are no longer the authorized copies distributed by Plaintiffs."

This means that the RIAA is saying it could actually come after anyone who has ever used a CD ripping program to transfer tracks from a disc to a computer, regardless of whether or not file sharing was involved. The organization's website makes this clearer by noting, "If you make unauthorized copies of copyrighted music recordings ... you could be held legally liable for thousands of dollars in damages."

The case against Howell is believed to be the first to take this stance this far into the legal process.
So let me get this straight: the RIAA complains about how few people are buying CDs anymore, but will sue those scant few who still do if they commit the unforgivable sin of wanting to put those CDs--they have paid for--on their iPods or in their iTunes. Wow. And I thought only Microsoft and Quark had such contempt for their own customers.

Next I suspect it will be considered illegal to take your CDs out of your house and put them in your car....or perhaps to play them at all.

Sunday, January 06, 2008

Eight is Enough

It is difficult to avoid the usual fin d'annee countdowns of the best [insert item here] of 2007. So, if you can't beat 'em, join 'em! So, here are my top 8 records of the year (round numbers are boring), in ascending order.

8. The Residents, The Voice of Midnight
If you were one of the (literally) dozen people who bought the very first Residents album back in 1973, it's doubtful that you would have expected them to still be around 34 years later, given that they have not only been utterly devoid of any commercial potential, but have actively avoided the merest scintilla of commericalism. (They espoused, at one point, the Theory of Obscurity, producing an album--Not Available, one of the strangest recordings ever made--that was created without taking into account any potential listener and in fact was not supposed to be released until the band had completely forgotten about its existence.) Of course, since The Residents have always remained completely anonymous and faceless (except for their iconic giant-eyeball-and-top-hat masks, I have no idea if it's the same people, but the Singing Resident at least sounds like the same guy who's been there since the beginning. Anyway, The Voice of Midnight is a musical adaptation of the short horror story "The Sandman" by E.T.A. Hoffman, updated and given a uniquely Residents-like (and creepy) twist ending. Unlike several other Residents narrative albums, this time the story is told via straightforward dialogue, with only occasional singing, although the musical accompaniment is still decidedly Residential. The usual creepy synths and outstanding guitar work (thanks to guest soloist Nolan Cook, who appears to be an apt replacement for the Residents' late lamented collaborator Snakefinger) is enhanced by real strings, probably courtesy of the Film Orchestra of Budapest, who graced The Residents' 2006 Tweedles album. There is no way this album is for everyone's taste, but then nor are The Residents, who have spent the past 34 years making some of the weirdest music ever made. I like them--but then I've been called pretty weird myself.

7. The New Pornographers, Challengers
The New Pornographers are an alternative rock collective based in Vancouver, B.C. Comprising A.C. Newman, songstress Neko Case, Dan Bejar, and a bunch of others, all of whom have their own bands and solo careers, they come together every couple of years to create a CD's worth of shimmering power pop gems. Challengers is a more subtle, quieter album than its three predecessors (I particularly love 2003's Electric Version and 2005's Twin Cinema), and as a result is not as immediate (they have added strings and other acoustic instruments this time around), but a few listens soon reveal the record's charms. Standout tracks are "My Rights Versus Yours," "All the Old Showstoppers," "Mutiny, I Promise You," and "Myriad Harbour." One almost can't wait until 2009 for their next album.

6. The Arctic Monkeys, Favourite Worst Nightmare
The Arctic Monkeys' 2006 debut album Whatever People Say I Am, That's What I'm Not was one of my favo[u]rite albums of last year, even if it wasn't the most musically groundbreaking record in the world (just basic good old-fashioned Northern British pub rock, with fairly good lyrics and clever turns of phrase). If their follow-up seems a bit rushed out, it certainly doesn't sound it. If it's at all a disappointment, it's only because its predecessor was such a hard act to follow. The band have improved musically, but aside from that, little has changed. Standout tracks are the punnily titled "Brianstorm," "D is for Dangerous," "This House is a Circus," and "If You Were There, Beware." Maybe they'll take their time to put out their third record.

5. The Arcade Fire, Neon Bible
Montreal's Arcade Fire burst onto the scene in 2004 with their critically acclaimed debut album Funeral (it may even have been a hit, too), although I had not heard of them until a couple years later. Since I came late to the party, I really wasn't expecting anything from their long-awaited follow-up Neon Bible. As a result, I liked it almost immediately and it stayed in heavy rotation on my iPod for much of last spring. The album is dark and brooding, with a world-weary air to it, with a dash of the obligatory post-fame cynicism. Vocalist Win Butler reminds me a little of Echo & the Bunnymen's Ian McCulloch with a little of Pink Floy'd Roger Waters' histrionics thrown in (there's a combination!). Pipe organs and other unusual instrumentation abound, and stylistically they are all over the map, from the murky and brooding ("Black Mirror") to the infectious ("Keep the Car Running") to the faintly progressive ("The Well and the Lighthouse"). It does take a few listens to get into, but once you do, it's hard to stop.

4. Rush, Snakes and Arrows
Who'd have thought that the Canadian power trio Rush would still be around after 30 years, or that I would still like them (they were one of my favorites in high school, as they were for a lot of people my age) after almost as long. By the end of the 1990s, it began to seem that they had vanished (personal tragedies affected drummer Neal Peart, leading to his temporary "retirement"), but when they returned in 2002 with a new album (Vapor Trails) and tour (which I was fortunate enough to catch at SPAC), they were back and, if not better than, at least as good as, ever. If Vapor Trails was the sound of a band getting back into the swing of things (albeit with a vengeance), the follow up, Snakes and Arrows, is the sound of a band restaking its claim and is at the top of its game. All the classic Rush touches are their: intellectual lyrics, virtuosic power guitar (the intro to "Far Cry"--which, by the way, will stand up there with any Rush track, IMHO--even reprises the classic "Hemispheres" chord), inventive bass playing, and, of course, the unparalleled drumming of Peart. Happily, Geddy Lee's voice has gotten lower over the years, so there's a lot less of the piercing shrieks you used to get circa 2112. And they have wisely dispensed with the synthesizers that made many of their 1980s records sound like they had been recorded through a giant ball of cotton. After lo these many years, Rush have earned the right to do what they want when they want to do it and if Snakes and Arrows lacks the brilliance of, say, Moving Pictures or Permanent Waves, it presents bandmembers that are still challenging themselves musically and, most importantly, sound like they have having a ball doing it. (By the way, out of sheer geekiness, I got the DVD-Audio version of this album, which boasts 5.1 surround sound, which I have to say is an incredible experience--Neal Peart's drums are everywhere! I strongly protest re-buying things I already own, but if they ever remaster the classic Rush albums in 5.1 surround, I would consider them...)

3. They Might Be Giants, The Else
Another of the "who would have expected them to last this long?" bands, They Might Be Giants have now been at it for 22 years. (One can't help but think of the song "Number Three" on their 1986 debut album: "There's only two songs in me, and I just wrote the third.") And yet, they just keep getting better. They seem to be trying to make a distinction between their "kids'" records (No!, Here Come the ABCs, and the forthcoming Here Come the 123s) and their "adult" records, but really, the distinction is an artificial one. Much was made about how The Else was produced (at least in part) with the Dust Brothers (Tone-Loc, Beck, Hanson) but They have worked with them before ("Snail Dust," a remix of "Snail Shell" found on the 1996 Back to Skull EP). The first two tracks ("I'm Impressed" and "Take Out the Trash") give the "Band of Dans" (well, actually, only two Dans are left; Marty Beller is now the drummer) a workout before things get eclectic, and just plain weird. Take "With the Dark": it starts deceptively tenderly, "She's in love with her broken heart/Shes in love with the dark", there's an instrumental break and suddenly there's a recitative sung by a pirate ("Bustin' my pirate hump/Rockin' my peg-leg stump/My mind naturally turns to taxidermy"). Who else would write a song like this! Even when things get dark "The Shadow Government") things stay silly. And "Bee of the Bird of the Moth" has one of TMBG's patented hyperlocutions: "It's just a humming bird moth that's acting like a bird that thinks it's a bee." And Contrecoup has to be the only song I can think of that is about phrenology. And just try not singing along with "The Mesopotamians." I like The Else a lot better than its predecessor The Spine (2004) but even better than the proper album is the bonus disc Cast Your Pod to the Wind, a collection of songs from Their regular podcasts (the 21st-century equivalent of the old answering machine-based Dial-a-Song), which are not as fussily produced as the rest of the album, and are far more diverse and whimsical, from the accusatory "Why Did You Grow a Beard?" ("I can't leave you alone for five minutes") to the opening line of "We Live in a Dump" ("Hanging out while the monkeys type away") to "Greasy Kid Stuff" ("I've got the hairdo of a child!") to faux heavy metal of "Homunculus" to "The Deranged Millionaire" ("Gold is diamond-encrusted and diamonds are covered in gold"). The hotel detective is back; recall "She's a Hotel Detective" from their debut album, the sequel "She Was a Hotel Detective" from Back to Skull, and now "Hotel Detective of the Future" ("She had 100 mechanical fingers...she has the replicant motives of a cyborg..."). And how can you not like a song called "The Haunted Floating Eye"? Several songs also mention the "rainbow has a beard"--I guess They have been listening to Cream's "Swlabr."

2. Fountains of Wayne, Traffic and Weather
Some time ago, I found Fountains of Wayne's third album Welcome Interstate Managers (2003) in a used CD store and picked it up for the heck of it, having heard good things about FoW. It immediately grabbed me--even if the "rent-a-Cars" hit "Stacey's Mom" was my least favorite track on it--and when their fourth album, the long-awaited Traffic and Weather came out, I picked it up and it didn't leave my iPod rotation all last summer and fall (along with FoW's three previous records). FoW leaders Cris Collingwood and Adam Schlesinger are perhaps the Difford and Tilbrook of the 1990s/2000s and, indeed, FoW sounds at first blush like like a power-pop version of Squeeze. Collingwood and Schlesinger are top-notch songwriters, but they often get unfairly criticized for the fact that their songs are not especially serious; that is, FoW songs are character-based and are often satirical and downright derisive toward their subject matter.
I think this makes them great, but perhaps it's just me--but then I am not likely to be a biker, go to laser shows, or get a tattoo to impress my girlfriend. If Traffic and Weather isn't as consistently good as their second album (1999's Utopia Parkway) it might be because it had been worked on for so long that it sounds a bit too labored over. Still, it's a great record, from the opening take of missed love connections "Someone to Love" which is the only song I know of that name-checks Schenectady, to the love song of someone who spends way too much time souping up his car "'92 Suburu" ("Pumping in oxygen from some Swiss mountain/Alarm system so confusing you can't even get in"), to the lusting after DMV clerk "Yolanda Hayes" ("Behind window B, explaining patiently how she needs to see six forms of ID"), to the rapid-fire couplets of "New Routine," which has one of the best opening lines ever ("Two men sit in the corner of a diner/Both of them look quite a bit like Carl Reiner"). And the title track is a strange tale of anchormen who suddenly cut loose and start propositioning each other on the air ("We belong together like traffic and weather"). Anyone who has lived in New York City will laugh out loud at the line "Chuck Scarborough turns to Sue Simmons/Says 'Sugar you don't know what you're missin'." Not every song is a gem ("Revolving Dora" is just an excuse for the title) but I've listened to this album about 100 times already and haven't tired of it yet.

And my favorite album of 2007:

1. Andrew Bird, Armchair Apocrypha
I first heard of Andrew Bird two years ago when his Mysterious Production of Eggs came out and got a good review in Magnet magazine. That album quickly became my favorite of that year, and when the follow-up Armchair Apocrypha came out, I was the first on my block to pick it up (of course, that could apply to just about any album I own...). The opening four tracks could very well be a "best of" Andrew Bird album--the opener "Fiery Crash" (my mantra this year, whenever I got on a plane), "Imitosis" ("Turning to a playground in a Petri dish/Where single cells would swing their fists at anything that looks like easy prey"), "Plasticities" ("We'll fight for your music halls and dying cities/They'll fight for your neural walls and plasticities and precious territory"), and "Heretics" ("Tell us what we did wrong and you can blame us for it"). "Armchairs" slows things down a bit before "Dark Matter" kicks off with the line "When I was just a little boy/I threw away all my action toys/while I became obsessed with Operation." The best was saved for last: "Scythian Empires" is utterly beautiful and "Spare-Ohs" closes the album (well, prior to the final short instrumental "Yawny at the Apocalypse") with perhaps a summation of Bird's M.O.: "Such a reckless choice of words/when you tell me that I'm too obstruce [sic--I believe he means "abstruse"]/I just thought it was a kind of bird". A great great album--arguably as good as The Mysterious Production of Eggs. I hope he doesn't take another two years to release another record.

Honorable Mention: The other day I received in mail from Jessa Callen a copy of the debut album from The Callen Sisters (for those of you in Saratoga: Kim's daughters).

The Callen Sisters
Jess and Beth Callen play harp and guitar, respectively, and both are singer/songwriters. While I have only ever seen them perform unplugged as a duo (the harp and guitar interact beautifully and the sisters harmonize like angels) the album was recorded with a full band, the result being, for want of a better term, folk-rocky. The set kicks off with "Anomie," one of my candidates for the best track on the album, with a chiming Byrds-via-R.E.M. guitar jangle that I've always been a sucker for. "Irrelevant," another top track, will likely remind folks of Tori Amos or Fiona Apple, but since I'm very old, I was reminded of Never For Ever-era Kate Bush (who, after all, influenced Amos 'n' Apple). "Like You" will likely not affect most listeners the way it affected me (or will affect anyone who knows Jess and Beth), as it is about their mother Kim, a very dear friend of mine who passed away in 2004 after an 11-year battle with cancer. They performed this song live and unplugged last year at Caffe Lena, and there wasn't a dry eye in the house. On the record, though, it is given a rousing, almost Celtic arrangement, turning a sad song into an Irish wake-like celebration of a person's life. Likewise, "Lullaby" (I think one of Jess's songs; each sister wrote six of the 12 songs) is a standout solo acoustic song live, but on the record it starts off very sparely with vocal and solo harp, and other instruments gradually come in and built until the full band kicks in. It's very effective.

A lot of talk naturally focuses on the harp--after all, it's not the typical rock band instrument. (And for good reason; having seen Jess lug it around I have often asked her if she wouldn't be better off taking up the harmonica.) It doesn't have that typical arpeggio-y "harp-y" sound that everyone expects from a harp, but gives the songs a distinctive sound, without being distracting in its novelty. Half the time, you don't even realize you are hearing a harp.

Much kudos should probably be given to producer and arranger Dan Castellani who really did an excellent job of highlighting the sisters' talents while not letting the arrangements overwhelm the subtlety of their performances.

Lyrically, the songs focus on love and loss--given their family history, it would be difficult for them not to--but it's not all a dirge-a-thon; there is hope and beauty here (I also wish there had been a lyric sheet, or that the vocals had been brought up a tad further in the mix). And there are moments when they seem to be having a lot of fun, too.

Despite my obvious bias, I am extremely impressed with The Callen Sisters. It's a stunning debut album; my initial thought (and I've listened to the album about five times now) was that "I knew they were good; I just didn't know they were this good."

If you're interested, the CD can be bought via CDBaby here (I have ordered via CDBaby before and they are excellent). And, I have to say, whoever wrote their bio is utterly brilliant... ahem... You can also hear song samples on their Web site or on their MySpace page.