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Cut to:
Alice driving into the garbage truck parking lot.
She's still looking for the Dana standee.
She drives up to a garbage guy and asks if he's seen a Dana Fairbanks life
size cardboard cutout.
He hasn't, and asks her which bin she put it in (i.e. recyclable or normal
rubbish)
She has no idea.
He says if she put it in the blue one it'll be at the recycling centre.
If it's in the black one she'll never find it cause it's gone to a landfill
site.
Oops. Oh dear.
Alice says thanks and drives off.
Cut to:
Alice driving towards the landfill site, when she gets a call from an
obviously upset Dana.
Before you know it she's whipping her car around and telling Dana she'll be
right there!
Cut to:
MoiraMax having her breakfast.
In walks Shane and Carmen.
Shane and Carmen have something they want to ask MoiraMax, and Carmen places
a syringe on the table in front of her.
Shane and Carmen think that something's "going on with Jenny" - i.e. she's
using drugs etc
MoiraMax puts her banana down (oooh, very phallic) and explains it's not
Jenny's needle, it's hers.
She explains she's started using testosterone and is on a program of the
hormone.
Carmen asks what kind of program and MoiraMax goes on to explain she's
always felt uncomfortable in her body, and so is starting
"transition........ from female to male".
Shane asks her if Jenny knows and so MoiraMax tells her Jenny shoots her up
with the hormone injections.
It's then I realise Carmen is wearing a zip up top I have, but I
digress.......
It's obvious Carmen has NO idea what to say, and when MoiraMax informs her
she'll even be having surgery (when she can afford it) to flatten her
breasts so they look like male pectorals and tries to give Carmen a high
five in celebration, Carmen responds like MoiraMax has just spoken to her in
an alien language! It's kinda funny actually ;-)
After the high five, as MoiraMax leaves the table, Carmen shakes her hand
out painfully and mutters under her breath sarcastically "that's STRONG!"
Cut to:
Jenny in New York as she meets her editor.
Things do NOT go so well straight away, as her editor says that EVERYONE
loves Jenny's book....
"except ME"
Which catches Jenny off guard, but she takes it in, deals with it and asks
why.
"As your editor I have a basic problem with 'the journey' of the book. Or
rather, the LACK of one"
Jenny mentions that what's IN the book is what happened to HER, so she
doesn't know what she can do to change 'the journey', as it's basically a
true story disguised as fiction to protect Jenny herself.
Editor Lady reads a passage from Jenny's book out loud.
Don't worry, I wont drive you to biting chunks out of your sofas by
repeating it to you here.
Needless to say it's rather wordy, very pretentious and VERY Jenny.
It's a passage about self-harm and Editor Lady concludes that Jenny STILL
sees herself as a victim.
She also says that Jenny is an excellent writer (wha?!?!) but that she's
concerned young girls will read the book and see self-harm as a "viable
response to trauma".
Jenny and her editor argue over the content:
Editor Lady wont publish a book that's 'promoting' self-harm as a way to
deal and Jenny argues back that that's NOT what the book is saying and that
is how SHE dealt with the trauma of her rape etc.
Editor Lady also points out that there aren't any lessons to be learnt from
the book.
Where is Jenny's resolve, her self-awareness. Where is 'good' in the book.
The end result of the struggle etc.
Jenny says the only thing she can: "I survived".
But that isn't enough for Editor Lady:
"Yes, and I'm interested in how you THRIVE, NOT JUST survive!"
"Thriving" is not a word I'd apply to Jenny much. Well, at least not yet.
Editor Lady says that being a victim is easy, it's 'safe'.
She wants to know about "that other place - where you got OUT of your pain -
out of YOURSELF"
But Jenny hasn't reached that part of her journey quite yet. Or at least, if
she's beginning to reach it, she's still moving through it.
She gathers her stuff and pointedly asks Editor Lady "Let me ask you
something - WHY are you working on my book?!"
She follows that up by having a rant at Editor Lady, what with the
publishers wanting her to change the book from fiction to autobiography and
now she's too much of a "victim" and not "transformed" enough etc.
She works herself up into a right state, asking for her manuscript back and
eventually leaving on an empowered, "fuck you!"
Cut to:
Dana lying on her bed whining to Alice that Lara "just left!"
She makes it out like Lara said she couldn't handle it anymore and that Lara
said she was going to Paris for the chef course!
DANA! BAD Dana! Dana shouldn't lie to Alice! Tsk tsk Dana!
Dana's whining that she can't believe Lara just left her like that.
"I can" states Alice flatly.
"What the fuck is that supposed to mean" asks Dana, as if she didn't know.
Alice answers her just as honestly as before:
"It means you've been a total MONSTER - I know how much Lara loves you and
you just pushed her too far!"
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