Can’t settle. Prowling.
Hunting for a way in.
Like trying to find an Advil gel cap dropped on the kitchen floor in the middle of the night.
Did that last night.
Didn’t want to turn on the light because it would be a confession
You’re not sleeping
Refusing to look at the clock
Refusing to put on the specs that will tempt you to look at the red digital light on the microwave that will tell you
You should be asleep now.
On hands and knees, palm floating above the kitchen floor, hovering over the mental image of the Advil gel cap that fell from its plastic and foil nest onto the vast linoleum expanse.
Use the force, Luke
If anyone saw you now they would laugh
Stark naked hair askew on hands and knees in the dead of night
Cow position on the kitchen floor
Using The Force to find a pill that
Dances across the linoleum away from your weathered hand.
But no one’s looking.
No one’s looked for a while now.
And certainly not in the dead of night
In the semi-rural neighbourhood you call home.
If you can find it, night-blind,
Maybe that will be an omen
That you will also find a way to write this thing you need to say
But don’t want to confess.
So here’s the thing. I keep trying to tell the story of being an actor, but it seems that all my memories are about relationships.
So let’s get on with it. Spit it out. Let’s move on.
Shakespeare, season one. The Merchant of Venice and Much Ado About Nothing. Much ado about nothing indeed. I flirt with Claudio. I flirt with Lorenzo. A married man takes advantage of my vanity and ignorance. I sing and party and skinny dip in the moonlight. The season ends. I am unemployed with no prospects. I get depressed. I see a drop-in counsellor on Robson Street. You’re not depressed, you’re unemployed. Get a job. I get a job. Retail, extra staff at the Body Shop hired for the Christmas rush. Giving back massages to business men queued up to buy stocking-stuffers for their wives. No really, I don’t work on commission. My assistant manager makes me do this because she’s crazy. I quit on Christmas Eve before they have a chance to sack me. The manager asks me to reconsider. When we said we had to get rid of extra staff we didn’t mean you. Not if it means working with Crazy anymore. I go back to Australia. I get a faxed an offer from the Shakespeare festival offering me a second season. I tell them I’ll come back if they buy the credits that will make me a union member. It’s a struggle but they eventually agree.
Shakespeare, season two. Love’s Labours Lost and The Winter’s Tale. The Princess of France and Perdita. I crash at the new boyfriend’s sister’s place in New West while I hunt for a place of my own. I find a room in a flea-infested boarding house in Kitsilano. I leave my electric blue trench coat, the best second-hand score I ever made, at the boyfriend’s sister’s place. The boyfriend goes on tour and has a fling with his stage manager. The end. I’m more sad about the coat.
I see a play on Granville Island. One of the actors looks like Yul Brynner. Smoky eyed and dangerous. My new friend, the assistant stage manager at the Shakespeare Festival, knows him. She lets slip that he’s been asking about me. He saw me playing the Princess of France. She organizes a girls’ night out. He comes along to play the role of surrogate boyfriend in case of emergency. It’s all a ruse. An excuse for us to meet. A chumper approaches our table and shows an interest in me. I take Yul Brynner’s hand. It fits perfectly. That was eighteen years ago. We don’t hold hands as often as we did then, but when we do his hand still fits. Perfectly.
There. That wasn’t so hard, was it? What’s the big confession? You were boy crazy. Big deal. You don’t have to hate men to be a feminist.