Your eyes are closed. And a voice repeats itself: if you can’t eat, you need to sleep. “If you can’t sleep, you need to build something. Something edifying and engrossing. A sculpture. A sculpture that will take you out of yourself and release your attachments.” The voice of Dr. Bentley Philips, your wife’s psychiatrist. He arrived an hour ago, claiming that you called him. It’s possible that you did.
“But that’s only if you can’t sleep,” he says.
Sitting under the chandelier on the white shag of your unfurnished dining room, your new two-story house seems enormous and the night endless. None of the windows have curtains. Through the large bay window in the dining room, the desolation of the new housing development is clear: empty asphalt drives, vacant yards, half-built skeletons of houses. You see the silhouettes of transplanted midget palms waving in the orange glow of sodium vapor lamps around your circular driveway. Evil midget palms with fronds like sword blades. The chandelier is large and electric. It blazes like an alien mothership.
“Can’t you give me something?”
“You mean a fat pill that’ll knock you into next Tuesday?”
Bentley is a Buddhist, does Buddhist psychotherapy. He uses terms like “satori” and “blissful illumination” and talks about “exploding supernovas of joy in the meninges of the skull.”
“You’re an addict, Ed.” He tamps the bowl of his bong with his thumb. “Say, ‘I’m an addict,’ and I’ll write you a script right now.”
It’s possible that you’re an addict. But it’s a fact that, due to meth and despair, you haven’t been sleeping. You’ve been seeing mice at the edges of your vision. Your conversations with yourself in the bathroom mirror have grown cryptic and obscure—as have your talks with the cast of Battlestar Galactica.
“What if I say, ‘Fuck off,’ and punch you in the mouth?” You may be delusional and talking to television characters through the bathroom mirror, but unfortunately you’re not imagining Bentley. You’ve always hated your wife’s psychiatrist.
He shrugs and takes a long draw, tiny wisps of smoke rising from the bowl. The fact that you might have called him in a meth-addled stupor doesn’t make him any less of an asshole. You remind yourself that Bentley, too, shall pass. He coughs out used smoke and tells you to blame yourself, not the drugs. He says you need to admit what you are.
You put on the Sounds of the Humpback Whales CD he has in his boom box, the one he always brings with him to play chants and guided meditations and shit like that. Then, over the sounds of whale fin slapping the water, you tell him he’s a worthless pot-head.
What you don’t say is that you feel worried when you look through the front windows—the opaque, mirror-black world waiting to eat you, the wide circular drive illuminated in the middle of the glass. You watch the midget palms standing around the drive as if engaged in ritual, their fronds fronding the wind as the chandelier waits above, its monstrous mandibular arms glowing with the fires of perdition.
Bentley wants you to hit the bong. He nods and smirks when you wave it off as if he was testing you. There’s no way to blame drugs for this situation. Drugs are innocent. You blame Paula, your ex-wife. Fucking Paula, who abducted all the furniture en route and disappeared.
So if squinting Commander Adama appears in the dark dining room window or behind you in the bathroom mirror and starts telling you you have to roll the hard six just like in the series, you’ll ignore him as a rule. You’ll tell yourself there’s more than enough time to fix his geriatric bullshitty hallucinatory ass. If you see a mouse doing the Macarena across the back of the toilet tank, you’ll blink it gone. You’ll listen to the whales and tell yourself this is not psychosis. This is the necessary meth, the straight dope. Emotional life support. Beyond question. Only meth will save you from a violent probing on the alien mothership, which you feel will be more or less inevitable once the chandelier reveals itself.
The doctor’s triple-chambered bong bubbles as he initiates an herbal satori. The bong is bright orange, as long as Bentley’s arm, with pointillist green arabesques on the side. It’s enormous, faintly penile, slick-looking. The arabesques seem like sequins formed out of abjad. You imagine a woman with needles sticking out of her tongue licking designs into the bong—all about the unpronounceable name of god and forgiveness and how you must turn away from foolishness. Indeed.
The midget palms are right outside the window now. They wave and dip their fronds. Standing between them, Commander Adama beckons. You give him the finger and Bentley laughs. “Hallucinational are we?”
“I’m cold.”
“You’re sweating. Say you’re an addict, Ed. Just say it.”
The necessary meth, the straight dope: if you’re going to be completely honest, you’ll admit that the meninges of the skull cannot withstand more than 72 hours of racing heart and no sleep before acute psychosis sets in.
Psychosis. The big chosis.
This is not something other drugs can prevent, not even satori weed from the good doctor’s bong of enlightenment. Rather, amphetamine psychosis is a Daisy Duke Moment, a stretchy atemporal hiccup of severe disidentification in which you realize that you are now and always have been, say, the Antichrist or a tawny pug that was once shot into space by Soviet physicists or the sexy hillbilly cousin of Bo and Luke Duke for 6 full seasons.
But if you admit to yourself that Commander Adama is actually just a palm tree outside the window, then you must confront the unsettling question: what are palm trees?
“Look at you with your cock bong,” you say. “Have I ever seen you without a bong?”
“Paula has.”
Meth psychosis would constitute a total break in the reality piñata. It would constitute a new state of being in which you’re blindfolded, weeping on the ground, and all the candies of the world will have razorblades in them forevermore. Death Piñata. It’s the Winchester Mystery House on acid. It’s Daisy Duke. It’s Mitt Romney having won instead with plagues of locusts, the death of the firstborn, the Tower of Babel falling down all over again. It’s the chosis that makes the rest of society’s piñata-beaters want to tie you up and throw you in a hole. Daisy Duke? Oh my sweet lord, yes.
“You know, there’s nothing wrong with fucking a psychiatrist up, Bentley. People will probably like me for it. The police will. I could fuck you up right now.”
“With every threat you make, Ed, I grow stronger. You know why? Because I’m a Jedi knight and you’re an addict. That’s why.”
And a voice repeats itself: if you can’t eat, you need to sleep. If you can’t sleep, you need to build something. Something to distract you. Something to relieve you and bless you. Something sacramental. Something to initiate satori. And therefore, you know the only relief possible lies in the construction of an utterly enlightening machine dedicated completely to personal bliss, covered in knobs and cranks, and weighing more than a gun safe from the 1930s. One must build a beautiful, interactive sculpture. A machine, yes, but one that would connect you to the infinite.
“That’s the spirit,” Bentley says. And you realize you’ve been talking out loud, but it doesn’t make the idea any less brilliant. So this is what you do. Infused with the unstable and perhaps inbred hillbilly energy of an impending Daisy Duke Moment, you know you have to roll the hard six. You watch yourself get out some tools, a squirt-can of 3-in1 oil, and the box of machine parts someone left in the front closet. You watch yourself scream incoherently at Bentley like some kind of bloodthirsty pterodactyl. You dance in circles and stamp your feet until he helps you carry in the enormous moldy butcher block you found in the storm drain below the housing development. Then you listen to the whales and start to superglue the parts on.
It takes forever.
It only takes a little while.
It makes you want to gouge your eyes out with a screwdriver.
It makes you giggle like a little girl.
You’re not hallucinating. Those aren’t palm fronds swishing scissor-like beside your ears. That’s not Commander Adama in the foyer with his uniform pants around his ankles. He’s putting Daisy Duke and the new girl-Starbuck through a lesbian bondage routine with ball gags and chains and a stuffed puglet. They’re surrounded by midget palms, but you don’t have time to watch the fronding. You’re at the gound-zero-eleventh-hour-apocalyptic-meltdown-trigger-point-of-all-creation and there’s no time to be a tourist with the whole reality piñata hanging in the balance.
It looks like a chunk of Watts Towers when you finish, an amazing machine bristling with buttons and levers, knobs, cranks. You turn the knobs. You push the buttons.
You do feel slightly better.
“That sculpture you made has focused your thoughts. That’s good, my son,” Bentley says.
“This is a machine that creates satoris, bitch. Drug free. None of your Jedi bullshit. No psychobabble. Just pure, sweet, extra-virgin distractive bliss. Better, by far, than your cock bong. You better recognize.”
Bentley nods, smiles, his eyes nothing but slits. “It’s good that you took my advice, Ed. But remember, those levers don’t actually do anything. They’re just a placebo. They won’t keep you from diving head-first into a drained swimming pool or running over yourself with a car. You will eventually do something like that, you know.”
The thought of running over yourself with a car is terrifying. “Screw that. It’s about focus. You think I’m a meth addict, but you’re high and wrong. I made this machine before you told me to. I made this fucking years ago. I’m ancient like the hills.”
“Addict. That’s what I think. That’s what Paula thinks.”
“Paula has no philosophy and neither do you.”
Bentley’s cackles turn into coughs. He lies back and stares at the mothership chandelier, puts his hands behind his head. “Bliss machine. I like that. Bliss is nice. Machines are nice.”
In the menagerie of lethal street drugs, methamphetamine has had a short yet astonishing history. It is everywhere and nowhere, the redneck grail. It can be made from various combinations of iodine, battery acid, cold pills, acetone, paint thinner, white gasoline, wood ester, fiberglass resin, grain alcohol, liquid ether, and Bisquick. Moreover, it’s frisky and it wants to bring you the paper in the morning. It’s coat has a glossy sheen and it’s just so cute the way it wags its tail. Cute as a button. Meth is a pug that loves you. And it’s never, ever going away.
So let’s say at least some of what you’ve been experiencing has been due to blown-out meninges and perhaps to the sheer stuporous exhaustion that comes from overclocking the bodymind with such chemical puggy goodness. Before you left Gainesville, you had quite the little laboratory in your garage. But you were not a drug dealer. You were a married man with equity and a Prius, a fan of whimsical Rube Goldberg inventions, minor league baseball, and space opera. You recycled. You had a job as a chemical engineer for a company that produces one thing: synthetic lube oil for the nose cones of ICBMs—lube oil that used to come from whale blubber. This was good work you were doing. Yes, Daisy, you were saving the fucking whales. You were saving Free Willy. Sing with them, Daisy. Sing.
In fact, all the drugs you made were for personal use. Contrary to popular belief, meth did not turn you in to a raving, flesh eating werewolf. Rather, it made you more efficient and aware at work while providing an excellent hobby interest. And now, after ten faithful years of whale conservation and making it possible for the United States to turn North Korea into glowing maple syrup for 20 centuries, you don’t even own a bed.
So let’s say you’ve taken up chain smoking as both protest and comfort, sitting against the dining room wall in your boxer shorts, contemplating the mournful song of the humpback whale and pug dogs and battlestars and why Paula is so wrong about everything. Let’s say you’ve been compulsively applying ChapStick and snorting rails of homemade powdered meth at the rate of 250mg every three to four hours for the last 48 consecutive hours. Let’s say you’ve started to twitch. Let’s say a raindrop that got caught on the windowpane made you cry. Nobody loves you. The whales are singing. The house has no furniture.
Bentley’s finishing another bowl. Let’s also say you’re alright with despising him enough to choke him unconscious with one hand if he gets too close.
“Why did I call you? There’s no way I could have called you.”
“Because you need my help,” Bentley says.
And let ‘s admit that your obsession with Battlestar Galactica has also played a role in this—that you are powerless over Battlestar Galactica and that your life has become unmanageable. You look over at the machine you built, the Blissful Illumination Machine (BIM). It’s now covered by an old T-shirt. It’s sitting on the carpet where the dining room table should be.
“I need furniture is what I need.”
“Yeah.” Bentley nods. “That’s true.”
The current meninges-frying meth binge started 48.5 hours ago with a call in the deep end of the night, the phone squealing like a child shocked out of a dream. It’s alright, you said half-sleep, daddy’ll take care of everything. But you don’t know why you said that because you don’t have kids. You were holding the phone upside-down in the dark.
“What did you call me?” said the little voice.
“Are you the movers?” you asked. “I told you not to call me at night. For chrissake, it’s the middle of the night. This is unacceptable.”
“Ed Tiller? There’s an end table here with your name on it, Mr. Tiller. We thought you’d want to know.”
“It’s almost midnight. You should have been here last week.”
Creeping death: you knew exactly why they were late, why you’d been sleeping on a blanket for days under a sinister chandelier in the dining room—the only room with carpet and therefore the warmest place in the house since the heaters didn’t work.
“We’re in Lubbock,” he said. “I’m sorry. We’re in Lubbock.”
But that was 48.5 hours ago when you were psychologically defenseless. Now you’re higher than Luke Skywalker and you’ve got the BIM finished and you don’t have to dwell on Lubbock or calls in the middle of the night letting you know your soon-to-be-ex-wife had the movers divide your possessions in a truck stop parking lot.
Under the T-shirt, the levers and protrusions of the BIM resemble a jumble of bones under a shroud, a fat pug skeleton. Could the image of a skeletal pug bring enlightenment under a shirt? Why not? Dipping a pug in acid and wrapping up the bones is not something Rube Goldberg would kick you out of heaven for. Saint Rube, patron of over-engineered machines and useless gestures. Ave Sanctus Rubius, hear our prayer.
“I’m hungry. Big surprise there.” Bentley laughs at his own wit. You notice Captain Starbuck and Commander Adama making out over in the foyer. They’re sloppy, loud. It’s horrible.
“I’ve got some instant coffee in the kitchen,” you say. “That’s it.”
You focus on the BIM with all your power, trying to block out the slurping, smacking noises.
“You should switch to xenadrine, Ed. Contains ephedrine, caffeine, aspirin. Best legal speed there is, actually. You could crush it up.” Something mocking in Bentley’s voice.
“You’re the worst doctor I’ve ever met. What did you ever do for Paula anyway?”
“I freed her from the illusion of separation, Ed. And I made sweet love to her vagina. Say you’re an addict, Ed. Say it.”
Hideous. But you’re not coming down to his level. You’re not down with killing pugs yet. There’s one last episode of Battlestar Galactica: the Reimagined Series waiting. One. Only one. And if you can get over the image of Starbuck and Commander Adama going at it, maybe you can finally get closure. The dvd has been sitting on your laptop, looking at you. But you have approximately 25 minutes left on the laptop battery and, thanks to Paula, no power cord—no way to recharge without leaving the house for Radio Shack. Is it even possible to leave the house? No. It isn’t.
Bentley has the munchies. He goes to look for the instant coffee, which he says he’s going to eat. But he’ll never find it because you actually taped the packets under the sink, realizing, in one of your more precognitive moments, that otherwise anyone could take them. You start to chuckle. You hold your hand out and can’t stop it from shaking.
No, it’s not possible to go anywhere outside. You’d wind up in the drunk tank, spread-eagled over a fender, tortured in a basement. Nothing good ever happens in a basement. And you’re sure nothing good is exactly what would happen to you. The world beyond the house’s airlock is the cold vacuum of space, the cruel stars waiting, and no luscious Captain Starbuck to love you and make it alright.
“Where the hell is it?” Bentley’s voice is hollow and slightly lower coming from the kitchen. Commander Adama and Starbuck have reverted to their natural midget palm state. The foyer is now a tropical island. Toucans. The dulcet tones of a ukulele. Turn the cranks of the BIM. Pull the levers. Ave Sanctus Rubius.
“What? Bentley you fuck? Munchies? Feeling a drug craving? Wishing you had a plate of chimichangas, perhaps? Pizza? A big bowl of buttered popcorn? Say you’re an addict, Bentley. Say it. Then maybe I’ll tell you where I had the—sandwiches.”
He’s back in a flash, standing over you, hands balled into fists. “You’re mentally ill,” he says. “You’re addicted to illegal narcotics. That’s why you’re so cruel.”
“A whole cooler of sandwiches straight from Safeway, Bentley. Just think about it.”
“It’s not you, Ed. It’s the horrible disease of chemical dependency in you.”
“Turkey. Pastrami. Tomato basil. Lightly drizzled with olive oil.”
“You sick bastard.”
“Chipotle antipasto on rosemary flat bread with capers and chicken remoulade.”
For a moment, he looks like he’s going to cry, which is good.
“Caramelized onions, Bentley. Hear me? Caramelized.”
Then he does, a single tear rolling down his cheek. “You know, I never doubted what Paula said about you. But I never understood how deep your sickness goes.”
“Paula snorted Xanax on a nightly basis and couldn’t get off unless I choked her. Welcome to my world, Bentley.”
“So.” He wipes his cheek, takes a deep breath and tries to smile but now he’s twitching, too. “Were you just kidding about the sandwiches?”
In the course of watching the entire Battlestar Galactica series 13 consecutive times—always high and always stopping short of the Final Episode—you have come to believe that a power greater than yourself could restore you to sanity. You said as much to Paula when you were still living with her back in Florida and she was complaining about your nightly viewings. “Honey,” you said, “I think there’s something encoded here. Something metaphysical. I think Captain Starbuck might be talking to me. I mean, really talking to me.”
“Starbuck is talking to the camera, Ed.”
“I think I believe in god. A numinous reality. The communion of saints. The forgiveness of sins. The whole fucking thing. It’s there. It’s right there. I think I’ve finally got religion.”
And then she pointed to the sign she’d made a week before, the sheet of printer paper taped over your desk that read: “CAPTAIN STARBUCK ISN’T REAL. SHE IS AN ACTRESS NAMED KATEE SACKHOFF IN A TV SHOW THAT ENDED. YOU ARE AN IDIOT.” Paula’s pointing nail was a bloody claw and her eyes were dead moons of resentment. Maybe she was right and you are an idiot. But there can be no denying that the words Captain Starbuck speaks are oracular in nature, that Battlestar Galactica might have ruined your marriage but it might also have saved your soul. And, yes, it is possible that Paula resembled a Cylon.
In fact, it would not be untoward to say that in spite of saving the whales from nuclear nose cones, faithfully sorting bottles from cans, and pulling down six figures to keep dear Paula in gold rings and Gucci, there was never a time when married life seemed right and stable. That is, except for said moments of chemical methamphetamine communion with the words of Captain Starbuck, whose wisdom yet warms the cockles of your heart.
Paula was no Captain Starbuck. She knew it, too. And hell hath no fury like a woman scorned for a television show. But please. Paula owned enough handbags to kill a normal human. Handbag overdose: Gucci, Melli Blanco, Prada, Dolce and Gabbana, DKNY, House of Florence, even one made of pure black goat. Open her closet and there they were—leather-smelling, ruby studded, chained with nubbins of white gold and clasps and little symbols. A Babylon of bags. And a hanging garden of shoes. And Paula with her cartons of Virginia Slims and five different groups of friends you didn’t even know about for the longest time and were never allowed to meet.
Paula’s calves were cut like rocks and the fake breasts she got from Husband Number One were hanging in there strong at a generous C. She had her own bedroom. But you always had breakfast together. Damn those breakfasts were good. You could feel the love bubbling in the bacon. And she didn’t mind that you had a laboratory in the garage. She didn’t even notice if for months or didn’t care until you spoke for 17 hours—couldn’t stop speaking—about mysteries, Cylons, oracles, galactic sorcery. She made you dump the beakers before you moved and that should have told you.
Her brown hair was always in a twist. Her cellie blew up nightly. Callers with names like J-Dub, Rickkie, Kayreesha, Fabian d’Alonzo. Who’s named Fabian in this day and age, you wanted to know, but that was part of the You Don’t Ask and I Won’t Tell part of the marriage, the biggest part, and Paula wasn’t telling. Your obsession with Battlestar Galactica tore it. Maybe it meant you’d never assimilate and take a name like Rock-D and start wearing shiny tight-fitting shirts to clubs with one-syllable names. In your defense, Paula had no ear for the oracular.
Between man and wife, man and Daisy Duke, or man and pug dog, there can be a great sadness. But there comes a time when man and dog must reconcile. Dog is dead, says man’s wife. Man is dead, says dog. But you could imagine a better way. In a world gone mad, space opera is the ultimate anodyne. You quit reading scripture years ago. You went through a poetry phase. Sure you read Flowers of Evil and it seemed to mean something at the time, but Paris imagined as a bloated whore doesn’t uplift. And, in the end, the best that you could say for Baudelaire was that he liked cats. As for “Tintern Abbey,” don’t even bother. You got “Ozymandias” and most of William Carlos Williams and the jokes of Billy Collins and Howl and Leaves of Grass but whatever the leaves meant didn’t catch and, after all, you couldn’t smoke them. There was no Burning Bush Effect, no Daisy Duke Moment, no divine revelation from the mouths of the gods. This you got from Captain Starbuck, her voice flowing like Hecate’s fountain: Gorgo, Mormo, Moon of a Thousand Forms. Yes.
So you made a decision to turn your will and life over to the care of Captain Starbuck as you understood her. It wasn’t wrong. It was following your bliss. And that can’t be wrong. Even if your wife has not left you and there’s an end table with “Ed Tiller” on it sitting in a parking lot in Lubbock, Texas.
The only thing keeping you from ending it all is the BIM and the Final Episode. You lost your job. You lost your marriage. You lost the whales you should have been saving from nose cones. And you lost all the clothing you’d had in your drawers. All you’ve got left is this two-story tract house in Santa Monica, two boxes of shirts, a laptop, a psychiatrist baked out of his mind, and sorrow. And after the Final Episode, you can die as you’ve lived: a nothing, a failure, a no one. A zero. An empty crying thing, blown out of the Battlestar airlock and falling up into the big dark.
You wake up listening to your breathing. The side of your face is bonded to the shag with vomit. The whales are still singing. You’re fairly certain it’s your vomit. You take the T-shirt off the BIM and look at it, inhaling it’s 3-in-1 oil, turning its cranks. The base is solid wood—the butcher block, moldy and unlegged. On its surface, you have affixed rubberized red knobs, lathe handle, stippled cranks, link arms, handle washers, index sprockets, casefeed arm stop pins, an assortment of jam nuts, a camming pin, and a variety of other components which were unlabeled and which will now never need labels. From the same cardboard box you found in the front closet, you obtained the plastic spout bottle of 3-in-1 oil with a skull on the back and WARNING: HARMFUL IF SWALLOWED in bright red. But not harmful to the BIM. To the BIM, it’s holy anointing oil. And as you manipulate the parts, you breathe in the scent of the mechanical world and sigh.
Bentley must have left earlier. He’s back now, cooking lamb chops. He’s got a plastic bottle of vodka, which he alternately drinks from and pours into the frying pan. He took his pants off at some point. He’s dancing from foot to foot in pale yellow boxers, singing Bye-Bye Miss American Pie while he fries up the chops. The question as to whether Bentley has anything beyond pot and booze in his system is now moot. High or crazy stops mattering after a while. Doctor Bentley. Mr. Rational. God’s gift to the psychiatric profession and mental health everywhere is singing at the top of his voice and frying lamb chops in your kitchen for reasons you cannot fathom, shatterproof plastic gallon of vodka notwithstanding.
You un-skitch your face from the shag and wobble upright.
“Bentley? Bentley-poo? What are you doing, Bentley-poo?”
You feel like a child walking for the first time. A new world on stilts. Everything tilting. A sudden great pure-hearted sense of accomplishment. You did it! Look, honey, junior’s walking. But as for the hideous pulsing agony in your meninges? Ignore it. Ignore the sudden anxiety you feel, realizing that the BIM will be back in the dining room and therefore out of arm’s reach if you walk into the kitchen. Banish it. There’s a psychiatrist present. The psychiatrist who had everything to do with the abduction of your furniture and the dematerialization of your wife into the post-marital vapor of Lubbock, Texas.
Bentley dances and sings like some stubbly lamb-chop-frying satyr, raising up and fluttering his hands at key points in the song as if to say, Hallelujah! I’ve been saved by lamb meat! Instead, he sings, Them good old boys are drinking whiskey and rye and flips the chops as if they were pancakes. Hot oil splatters.
“Bentley? Are you alright, my little friend? What are you doing, Bentley-poo? Did you get into your medicine bag?”
The aroma of lamb chops and cheap vodka is repellent, but you will not be repelled from your own kitchen, even if the only pan in it is the Teflon fryer he must have bought along with the booze. Your head pounds with each step forward.
“Come on, now. Let’s come back to Earth. It’s a Class M planet with gravity and an atmosphere. You’ll like it on Earth.”
Singin’ this will be the day that I die. He does a Michael Jackson spin but shrieks when he sees you in the kitchen doorway and drops the vodka. True to its design, the bottle does not break, the plastic stopper at the mouth preventing all spillage. Some bottle designer out there understands the health principle of keeping one’s vodka wet and one’s powder dry. Momentarily distracted, maybe hypnotized, you notice the tide of the vodka in the bottle. But with every rise and fall, the agony in your head grows worse. There’s no preventing that. You cover your face with your palms and breathe. When you take your hands away, Bentley has backed up against the far wall, staring at you, holding the frying pan out as if it were some holy relic against evil.
“Stay the fuck away from me.” His eyes are big and terrified. He jabs at you with the pan, the lamb chops in it sizzling. You notice the entire left side of his body is covered in blood.
“What did you do, Bentley? Is that your blood?”
“Blood? What the fuck do you want with my blood?” He looks left and right. He’s cornered. To his left stands the enormous empty refrigerator that came with the house. To his right, a wall. “You want my fucking blood. You’re a fucking vampire. I knew it.”
“Bentley. I’m not a vampire. Now put down the chops.”
“You’re a vampire and if you don’t step away from me, I’m gonna use this on you. I mean it.”
Holding the side of your head, you step past the vodka bottle and reach out to take the frying pan, which in retrospect, you should not have done. Bentley screams the impassioned death cry of a small mammal about to be snapped up for dinner and throws the entire contents of the frying pan—vodka, hot oil, and two medium-well lamb chops—at your face. You duck just in time to get a spray of searing oil across your back, burning through your T-shirt.
Bentley follows the hot oil over you, diving head-first, and hits the floor hard. He slips but gets up and disappears out the kitchen. You also slip—on a lamb chop—and land flat on your back. Your head hurts too much for you to get right back up. Your back is burned. However, you do have the energy to scream, “Goddamn you, Bentley, I am not a fucking vampire. I’m a werewolf and when I find you, I’m gonna make you my werewolf bitch and burn you with fucking cooking oil you fucker.”
But by the time you find him, you feel you understand him.
The BIM brought you back and the chops were good. Proximity breeds tolerance, maybe even complacency. Moving through the house, frying pan dripping warm oil onto your hand, you revert from murderous to melancholy. What, for example, was more important: caving in the skull of your wife’s psychiatrist or watching the Final Episode? If sitting for a moment beside your Blissful Illumination Machine could bring you back, where were you? What does it really mean to want immediate and brutal vengeance on a wife-stealing psychiatrist when the cruel stars wait in the trackless void? When you finish turning the cranks and inhaling the scent of the BIM’s holy oil, you realize that these were the sort of questions Paula could have asked herself before deciding to leave you without furniture or hope.
By the time you decide to ask Bentley about his role in this, you’re standing outside the bathroom door, listening to him scream: “It’s locked! It’s locked, okay? Locked. And when the sun comes up, I’m gonna find your coffin!”
“You got into the meth and you’re paranoid, my brother. Paranoia. Shouldn’t you know about that?”
A dedicated meth addict will develop an extrasensory understanding of the drug at some point, made from one part intuition and three parts memory of previous bad decisions. It comes with the territory and it can calm you down in the throes of a bad run that’s otherwise putting a pressure cooker death clamp on your meninges. What once was an army of brain-sucking, face-eating ghouls climbing up towards your bedroom window can be attributed to inchoate fears attributed to possessed midget palms in the drive or some other fearful agency. And gods willing, you may tell yourself: yes, that might be an octopus tentacle sticking out of the mouth of my dead third-grade teacher standing in the other room, but I understand that if I sit very still and operate the dials on this BIM, she will not notice me.
Bentley pounds on the bathroom door and tells you he knows you’re undead. “I should have staked your heart when I had the chance,” he says. What he hasn’t learned yet is that running only encourages the monsters.
“Dr. Philips, my good friend, you snorted a pile of meth from the big jar in the pantry. You were not ready for this. Magic meth, Bentley. Makes you think everyone’s a vampire. Gives you a nosebleed and a lust for lamb meat.”
Now he’s weeping, saying “Paula” over and over. You sit down against the bathroom door and hold up the frying pan: no oil, a yellow-brown drip trail leading down the hallway toward the stairs.
“What about Paula? What did you do to her?”
He slumps against the other side of the door. “You think you’re the only one who hurts, Ed? I hurt.” The pain in his voice. The remorse. Only one woman could inspire those feelings. But you can’t see your former wife and Bentley as any kind of item. Paula, the dance club going, fake Florida tan having, Prada wearing, hip-hop-hit-me-on-my-two-way no-you-can’t-meet-my-friends diva of the universe getting together with rail-thin, balding Bentley? Inconceivable.
“You’re telling me you had an affair with my wife? Or are you just high and delusional? I think what you want to be is high and delusional.”
“She married you didn’t she? You don’t think she’d step out? You don’t think she ever did? She told me she had five affairs you knew about. And then there were the ones that you didn’t know about.”
“Bentley, tell me I’m not going to have to beat the fuck out of you with this frying pan.”
There’s scuffling, some thuds, and grunting from within the bathroom.
“You’re destroying my new house.”
“It’s not your house! Paula owns it all now!” Then the sound of breaking glass—the small bathroom window being punched out since he couldn’t get it to slide up on its casement. You listen to him grunt and strain. Eventually, he returns and slumps back against the door, exhausted.
“Bentley?”
“I don’t speak to vampires.”
And that’s where things stand, philosophically. You ask Bentley to unlock the door a few more times, but he’s determined to make good on his no vampire communication policy. That and maybe he’s forgotten how the lock works, which is also a very real possibility. In order to clean his wounds or because he has recalled the legend that vampires cannot cross running water, he turns on all the taps and begins flushing the toilet repeatedly.
When the water seeps underneath the door and wets your shorts, you stand and wander through the upstairs rooms, the pain in your head lessening somewhat but still undeniably there. The empty unfurnished bedrooms. The barren inset shelves of the study. Slanting orange bars of light through vertical blinds. All the space, empty, useless, made for occupants leading more abundant lives with jobs and books and the unnamed end tables of domestic bliss. With such space, it’s no wonder that you’ve been under high levels of strain. When one reaches out in the darkness and touches nothing, what makes sense? When one’s wife says she’ll be there but spirits the furniture away to Lubbock, what is normal?
Standing at the top of the stairs, looking through the window over the circular drive, you banish the thought that the midget palms are still waiting for you out there. That’s just drug shit, paranoia. If you’d gone the distance and actually paid for some high-class metallic sodium instead of being lazy and using the more readily available ammonia and battery acid, none of this would have happened. You’d have gotten Ye Goode Oulde Dependable High, mild euphoria, perhaps a hard-on. But this: tremors, visions, agonizing headache, heartbroken terrified psychiatrist flooding your house, nervous breakdowns, grief, Saint Rube Goldberg shaking his head in dismay while incoherent screaming and splashing comes from the bathroom.
Or not a nervous breakdown. Maybe just a Goldberg Variation—like St. Goldberg’s Self-Operating Napkin, which raises a string, jerks a table, pours seeds into a cup, and sets off a tiny rocket that will cause the napkin to wipe one’s chin—a small chain reaction, an invention meant to play between the acts, meant to keep you sufficiently amused as you move through disrecognized domestic space, from having to having not, from end table to absence in the big bad dark.
Or your beloved Daisy Duke Moment: one moment, you’re a mildly depressed, slightly drug-addicted chemical engineer living beyond your means in Gainesville with a wife named Paula and the next moment you’re here, looking at your reflection in a window at night, hallucinating a tawny pug head in the place of your own. A few hours ago, battery acid having its filthy way with your meninges, you’d have believed a pug reflection—floppy little ears, watery soulful eyes, a certain Cosmonaut fervor in the seriousness of the expression.
By your watch calculator, it’s now been 50.7 hours since the movers called, 48.4 hours since you realized Paula never had any intention of arriving with the furniture to “talk things out.” Talk. Shit. Without furniture, all other marital issues are irrelevant. At this point, the only intelligent response is to huff, sniff the air, and yowl at the chandelier in socialist pug sorrow. And only Captain Starbuck has the answers. Soon you will play the Final Episode on your laptop while you make a searching and fearless moral inventory. Soon the Oracle will whisper to the maelstrom of your soul. And you will, at last and for all time, find release.
Your eyes are closed. And a voice repeats itself: I’m dying. Can’t you see that? It’s dark. I’m slipping away.
“No you’re not,” you say to the wall outside the bathroom. “You’re just a little upset, man.”
At some point, Bentley turned off the faucets. The water stopped seeping under the door and dripping through to the pantry and rooms on the ground floor. The voice sounds like it belongs to Bentley. Then again, you would be crazy to attribute everything to him when you have been so hallucinatory in the timeless Daisy Duke moment of all bad drugs—when the meninges try and fail to reassemble themselves on the brainpan and all assumptions about what’s real and what’s a hallucination must pass away. Your head continues to pound, to throb with each heartbeat, and you decide the voice is not coming from Bentley after all. Everything is quiet. The dark hallway. The locked bathroom door. Maybe’ while you’ve been holding a hallucinatory dialogue with yourself, something has actually happened to the good doctor. You reach up and try the door again. It’s still locked.
I’m dying, the voice says. Can’t you see that?
You’re not dying, Bentley. Nobody’s dying. I’m suffering from hallucinations brought on by sustained sleep deprivation and methamphetamine use.
Don’t you want to talk about it?
“There is no talk. Talk doesn’t work. There’s only: unlock the bathroom door. There’s only: eject Bentley from the house. There’s only: plug in the laptop and watch the Final Episode.”
And get Paula back?
“Paula’s never coming back, Bentley. I know that.”
Which may be the truest thing you’ve said to yourself all night. Because you are talking to yourself, aren’t you?
Aren’t you?
You try the bathroom door again and kick it a few times, screaming at Bentley for being such a worthless asshole. Because he is that, isn’t he? He’s that above all else.
You’ve replaced Sounds of the Humpback Whales with R.E.M.’s Eponymous. Drifting through the rooms to the third complete cycle of the album, you wonder exactly how long it’s going to take for this shitty album to make you hurt yourself. For that matter, how long can a psychiatrist withstand R.E.M. after a night of humpback whales in heat? Not long. With meth, less so. Traipsing through the house, doing little ballet pirouettes, you sing along with “Talk About the Passion” at the top of your voice—off-key maybe, but is there really a key? And besides, the whole point is to get Bentley to come out of the bathroom, possibly so you can kill him and certainly so you can urinate.
You discovered that the power cord to the laptop wasn’t missing after all—an incredible relief. You had no memory of tying it with a rubber band and hiding it between the shirts in your suitcase. Finding it there made you wonder what else you might have hidden away while high or blacked out. Gangster rolls of fifties? The house keys you misplaced shortly after arriving, sweaty and trembling from the airport? Yet more meth?
Bentley wasn’t careful with your current dope storage jar. You find it in the pantry, open on its side, a long yellow-white drift from the mouth of the jar to the edge of the wooden shelf. And if you were a desperate wild-eyed junkie in the classic Hollywood sense, if you’d bought the meth to use because you needed it, if that were your lifestyle, Bentley’s carelessness might have sent you over the edge into a murderous werewolf fever of spitting and cursing and hammering the bathroom door with an oily frying pan. Instead, you know you can just make more.
As Michael Stipe starts up with “(Don’t Go Back To) Rockville,” you consider the fact that you have resources. A BIM for stability. A house. Access to an Oracle of the Gods. A psychiatrist locked in your bathroom. To say nothing of all the drugs you want and the knowledge of how to make more.
You consider the possibility that doing one more rail of meth, just as a fortifying measure, wouldn’t hurt at all. Just one rail. One for old time’s sake. One for Commander Adama. One for the Gipper. One for Daisy Duke, Captain Starbuck, JFK, and Yanni. One for the fucking whales. One for sadness and alliteration, disorientation, disrecognition, distention, and the patent disregard of everything displeasing.
Yeah, disidentification. Right before the Soviet physicists initialize the launch sequence and your tawny pug ass goes sky-high along with casefeeds and camming pins, the mechanical universe squealing into space like battlestars gone wild. The BIM—you’ve got your beautiful, impractical bliss machine at least—a calming vector of predictability if you can just keep cranking the cranks.
So you do another line and the meninges start to sizzle.
The movers might not be coming west of Lubbock after all, of course. Santa Monica might not be on their itinerary. But you’ve got their number. And you can find them. And they know it. At least there’s that. At least you’ve got Captain Starbuck and an enormous jar of home-cooked methamphetamine hydrochloride and the Final Episode. Another rail and another smoke, lighter jumping around so much that you have to press your hand against the wall to hold it steady. You dial the movers, but they don’t answer and you’ll be damned if you’re going to start leaving them messages.
Disidentification of disrecognized space: this house could be a beautiful meth lab. A lab and a shrine. Statues to Jesus Malverde, the Virgin of Guadalupe, and Saint Rube. Prayer beads, candles, and incense. An enormous day-glow poster of Captain Starbuck and Daisy Duke healing the sick of Calcutta. And all around it: separatory funnels, Bunsen burners, reaction vessels, plastic storage containers, large glass beakers, Mason jars, Pyrex, plastic Igloo coolers. Even the BIM would be wired in. A Rube Goldberg meth machine to reflect the hideous spirit of the times, putting out pounds of meth with no other purpose than to get you high and keep you there. Meth for meth’s sake. But Paula made you get rid of all your beakers before the move. Where are the goddamn Soviet physicists to shoot you into space now? Asking is pointless. Nobody cares. The pug weeps crystal tears.
The phone rings. Surprise. It’s the movers.
“I thought you were in Lubbock,” you say, yowling a little like a pug for emphasis before you shake off the Daisy Duke Moment and feel ready to communicate the full and proper extent of your indignation about your furniture being abducted.
“We were. There’s still the matter of the end table, sir.”
“There’s a lot more at stake here than just an end table, fucker. There’s a Malm and a Stolmen, an Elgå, a Brimnes, an Aspvik, and Expedit, and, yes, a Framstå. That’s all high-end Swedish shit, purchased at great difficulty and expense from the international importer, Ikea. I don’t expect you people to know about that or appreciate it, but it means a lot to me.”
“We don’t have anything like that.”
“You LIE! You’ve stolen my Aspvik!” Yes and then you hang up.
Taken intranasally in powder form, quality methamphetamine will produce a reasonable euphoria, a gentleman’s euphoria, not an all-encompassing derangement of the senses. It won’t come on like a freight train. Not a screaming bondage snuff film with ball gag and bodily fluids flying through the air, but rather like fantasy night with Sue Ellen Ellen, pristine captainette of the cheer team after the big game—soft-core and blushing with all kinds of muted pink goodness you want to keep and hold tight in the warm center of your center. So some fuck dumps your Aspvik in Lubbock and you decide it’s time for another rail because what the hell else are you going to do? What would Captain Starbuck do sans Aspvik?
You are now perfectly and completely ready to have Captain Starbuck remove all defects from your character. This is how you intend to make amends to those you may have hurt—what you intend to admit to Bentley, to yourself, and to Paula if she ever talks to you again. You will admit the precise nature of your wrongs. Because, as much as Paula has wrecked your life, can you really blame her?
It’s still dark outside and it has begun to rain. How much time has passed tonight? Aeons. Minutes. The cold vault of the heavens wheeling through the centuries. The midget palms creeping a little bit closer in the fronding of a moment. Those cruel stars.
If you can’t eat, you need to sleep. If you can’t sleep, you need to build something. Something edifying an engrossing. But how engrossing can a therapeutically Buddhist invention be if it spontaneously disintegrates? The fact that you do not see the BIM when you return to the dining room could mean that it has actually disappeared or that it is now invisible.
You close your eyes and try to get steady. Walk home to an empty house, sit around all by yourself / I know it might sound strange, / but I believe / You’ll be coming back before too long sings Michael Stipe. And, at least for the moment, you are inclined to agree. Screw Rockville—never go back! And screw Paula and screw Bentley sneaking around with his Freudian penis bong and all his Buddhist drama. So you’re having difficulties with reality. Who isn’t?
Yes?
Well, just consider where you are.
That’s the problem. I’m beginning to have doubts.
Lack of certainty is not certainty of lack. Quack. Quack.
Are you on drugs?
Yes, as a matter of fact, I am. What’s that got to do with anything?
Everything.
Something better happen soon, sings Michael, or it’s gonna be too late to bring you back. You feel he’s singing directly to you. How could he not be singing directly to you? You’re the only one here. The only other option is Bentley. And where is Bentley?
Your wife’s psychiatrist is not here being sung to. That’s one thing you know. And yet, the BIM hasn’t re-materialized. You make a searching inventory:
- The Rooms: empty.
- Bentley: gone as gone gets. Bathroom door open now. Tentacles of mist from shower hanging in the still air of the hall. It’s important to be clean. But still. Where is a psychiatrist liable to hide?
- The BIM: also gone. Maybe even gonner than Bentley-gone. Was it ever actually there? Were you? Stop that.
- Depression: everywhere but where the BIM used to be. You’re not coming down, but you’re not high, either. More like you’re sideways, as they say, stepping sideways. Things apporting hither and thither around the property. The midget palms once again inching their way up the drive. You can see those bastards with their bastard fronds. You know what they’re up to.
- The Whales: safe, for now.
In the kitchen, almost as if through some kind of demonic punctuation, some kind of horrible inevitability, your hand comes away from your mouth slick with blood. Bentley’s? Terrible possibilities snap and crackle across the meninges. Horror of horrors: Bentley left a perfect bloody hand print right at the place where he caromed against the white kitchen wall. The print is crusted burgundy with palm lines so clear and fine that a fortune teller could read his destiny. And double-horror: the print fits your hand perfectly. You’ve murdered Dr. Bentley.
Screaming wordlessly, your hand stuck to the print, magnetized there, you know you killed him and drank his blood. You are a vampire. And so it makes sense that you’re now condemned to die with your own hand fitted in the print, stuck forever to the evidence of your guilt. Poetic justice. No Buddhist therapy for something like this. No Blissful Illumination Machine. No love. No drugs. No Aspvik to soothe the meninges of the skull.
If you can’t eat, you need to sleep. Remember the blood on your face. It’s your blood, the mother of all nosebleeds covering your mouth and chin. You stop screaming. Michael Stipe tells you that Everybody else in town only wants to bring you down / and that’s not how it ought to be. But you’ve seen R.E.M.’s music actually make cats vomit. So you can’t be bothered by Michael Stipe’s senseless infantile puling. Especially when you’re bleeding and stuck. Then again, maybe all this blood is yours and none of it comes from Bentley.
Would that make you feel better?
I’m not sure.
You’re bleeding to death, you know.
Nobody dies of a nosebleed.
Look at your shoes.
They’re squishy, filled with blood. You wonder how all that blood got from your nose to your feet without getting on your pants. You really need to find a way to unstick your hand from the wall. The blood has attracted the midget palms. They crowd into the kitchen, Commander Adama walking behind. His face is a skull. He’s wearing a cowboy hat. He cracks a bullwhip, driving them forward.
“The hard six!” he screams. “The hard six!”
And you go down, screaming, vomiting, into the fronding dark.
—
The sun rises without event.
The midget palms are gone and it appears you are alive. Moreover, your hand is unstuck from the wall. Even the hand print is gone. After searching the entire house and silencing Michael Stipe, you realize there is only one place you haven’t looked for Bentley.
It takes you 15 minutes to climb the back trellis and onto the peaked roof. As soon as you stand up, you see Bentley, sitting on the edge of the peak that looks out over the empty swimming pool filled with dead leaves, the back yard with artificial grass, the drainage ditch. Beyond that: the housing development, gridlock on the I-5, morning haze over Los Angeles.
Bentley’s been up here all along, using the BIM as a back support. No blood. Yellow polo. Brown khakis. He shaved and smells like gardenia.
“We’ve been waiting for you,” he says when you walk up and sit beside him.
“We?” The lights of downtown are still winking in the deep haze like a fallen constellation. The half-developed housing project is speckled with pools of shadow around the inner frames of unfinished homes.
“Me and Paula.”
You look behind, but the roof is empty except for you and Bentley.
“Paula isn’t here.”
Bentley glances at you and smiles. “Well, perhaps not; though there is always the possibility that you can’t see her.”
“I can see you well enough.”
“Can you?”
He stands and moves the BIM so that its dials and cranks face you. You turn the dials and crank the cranks.
“I feel better. Thanks.”
“It really works, doesn’t it?” He smiles again. “Now do you trust me?”
Behind him, the sky has already changed from faint violet to pale blue. The stars have faded. The distant lights of the city are almost all gone now. Somewhere close by, two cats shriek at each other, about to fight.
“I didn’t kill you after all.”
“No, Ed, you didn’t. It’s not possible for you to kill me.”
“I think I’m sick, Bentley.”
“You’re an addict, Ed. Just say it. Say it and I’ll show you how to be free.”
At the other end of the roof, Captain Starbuck is trying to set fire to the house with a fistful of burning rags while blue uniformed Commander Adama looks on and smiles. He no longer has a skull face, but he’s still wearing the cowboy hat. A naked Daisy Duke covered in spiders with medusa-like palm fronds sticking out of her head crawls up over the edge of the roof on all fours like a lizard. She has a knife in her teeth. You can’t bear the sight and have to look away. Fresh blood drips out of your nose, making the old bloodstains on your shirt glisten.
“Just say it. Say I’m an addict.”
“I’m an addict.”
Bentley’s smile gets wider. He holds up a Styrofoam cup and squirts the BIM’s holy 3-in-1 oil into it, then hands it to you. “Bottoms up,” he says.
“Won’t that mess me up?”
“You’re an addict. You said it yourself.”
In a way beyond words, that makes perfect sense. You nod and Bentley nods back. On the tip of the roof, you knock back a full cup of machine oil. It tastes surprisingly good before you feel your stomach seize and twist with a pain you’ve never felt before.
“Now do the right thing,” he whispers in your ear.
And you realize that you never saw the Final Episode and now you never will.
Captain Starbuck is behind you. She speaks with Paula’s voice. “Do the right thing, Ed.”
You nod, spread your arms, and dive into the empty backyard pool, knowing that it will open and you will fly through, at last free and blissful, into the big dark.
The Writing Expedition 