CoL49 (3) The Graveyard of Sex [PC 33]

[Robin Landseadel]

Note  the surrealism/theater of absurdity/cruelty aspects of this  
scene, back in Echo Courts just before Baby Igor and Oedipa take a  
night out, scoping out the Scope:

	. . . Echo Courts became impossible, either because of the
	stillness of the pool and the blank windows that faced on it, or a
	prevalence of teenage voyeurs, who'd all had copies of Miles's
	passkey made so they could check in at whim on any bizarre
	sexual action. This would grow so bad Oedipa and Metzger got
	in the habit of dragging a mattress into the walk-in closet, where
	Metzger would then move the chest of drawers up against the
	door, remove the bottom drawer and put it on top, insert his legs
	in the empty space, this being the only way he could lie full
	length in this closet, by which point he'd usually lost interest in
	the whole thing.

Echoing "The Automobile Graveyard":

	(Villa and Emanu go behind Car A where the audience cannot
	see them. Rock 'n' roll music offstage right. Soon Milos comes
	out of Car A and climbs up onto the hood. He watches what is
	going on-that is, what Villa and Emanu are doing. He watches
	them with extreme curiosity and considerable satisfaction. After
	a minute he heads for Car 2, sticks his head between the burlap
	curtains and talks to someone inside.)

	MILOS: Look what Dilla's doing! (He laughs.) Watch out she
	doesn't see you. Look through the curtains!

	(Milos laughs again, then hides a little behind Car 2. We hear a
	man's noisy laugh from inside Car 2. Milos now sticks his head
	between the burlap curtains of Car 3.)

	MILOS: Look, look out there I (He laughs.) If you stay behind the
	curtains, you can see everything. Lookl (He laughs.) (Milos
	hides a little behind Car 3. The man in Car 2 laughs and we
	hear the laughter of the couple in Car 3 as well.)
	Arrabal: The Automobile Graveyard, pg 24