mood: tired music: 'plastique' by mira

so yesterday i was driving home from st. john's with andres, when i noticed my car was making a funny noise. here was the ensuing conversation:

me: andres, do you hear that?
andres: yeah, i do.
me: do i have a flat?
*andres opens the window manually and looks back*
andres: yep.
me: fuck.
*i pull over and install the spare*

it was oddly stoic.

i ended up buying a new tire later that afternoon, but what a let down that was for a while.

then i went back home and was resolute on not going out again that night. so 7PM rolls around and i'm not tired, just restless. i'm on the computer when i, for no apparent reason, jump up and grab the phone. i dial 777-3456, then 1, then 285, then 1, then 90045, then 2, and that gets me to remaining showtimes for 'a very long engagement' at the westside pavilion, which has a quasi-indie theatre that i'd much rather go to than the bridge or pacific beach theatres. the last remaining showtime was 8, about an hour away, but i don't make any sudden movements, because i couldn't seem to gather the energy to get dressed again. finally at 730 i jumped into my clothes and tried to reach west l.a. in evening traffic in half an hour, which is no simple task. luckily i know all the shortcuts and empty parking sectors in the structure. i ended up buying my ticket at about 750.

'a very long engagement' is a deeply dramatic story that sometimes relies on a bit of shock imagery due to the setting of WWI's trench warfare. the film's director and at least half of the leading cast were also from 'amelie', but they are only alike in strictly structural terms. the main character searches for her love and tries to unravel the mystery surrounding his alleged death. periodic flashbacks show the emotional connections and there are twists and turns every so often, so as to keep the viewer on edge. i remember staring intently as the conclusion started to come about, waiting to see what was going to happen next. both 'amelie' and 'a very long engagement' have the same 'black sheep'-type main character and the quiet soulmate who keeps her on her feet. just like a good chuck palahniuk novel, the innovation of both films lies in the little nonessentials to the plot. literary devices such as repetition, color schemes, and often misleading symbolism that makes you go, 'huh?......ohhhh!' it's a deeply affected film that could summon tears if you're not careful, but i would prefer the lighter 'amelie'.

well, i felt great about the whole spontaneity thing, but there was a group of people in the parking structure who were probably more thankful. apparently they left their lights on and drained the battery, and i was the last other car in the lot who could give them a jump. my good deed for the month. fine, week. the driver offered me money, but i refused, partly because it would be impolite and partly because i always feel weird about getting money from complete strangers.

anyways, i went to un-urban after, but remember as i stepped in that i didn't have any cash on me. i asked if i could pay with debit, and there was a $3.50 minimum, so i just bought 2 large coffees. problem solved.

---Goei---