Ali and I went to Nextstage at Geva (75 Woodbury Blvd.) to see the first screenplay reading of The Hornets' Nest series: Back of the Throat by Yussef el Guindi. In it, a man of Middle-Eastern descent (Khaled) is being questioned by two federal agents (Bartlett and Carl) shortly after September 11, 2001. The agents are not charging Khaled with any particular crime and Khaled — an American citizen — is glad to help in any way he can until the agents start to become suspicious.
Popular media teaches us that police officers know who's guilty and they just need to shake out the right information to catch the crooks. In reality, they are not nearly as prescient as a scriptwriter. When the illusion of prescience is lost, the whole process of open-ended interrogation works only to blur the difference between the innocent and the guilty rather than to help define it.
Regardless of whether Khaled is innocent or guilty, as the questioning continues, he appears defensive which looks both like innocence and like guilt. So as a tool for divining the innocent from the guilty, this is a particularly poor one. Worse, though, is that the agents become more confident in their belief that Khaled is guilty, so they press further, and the more defensive he becomes, the more they feel he's guilty and uncooperative.
In some ways I find the script-in-hand readings more powerful than a performance. When an action or object is described briefly in words, it has a naturally ambiguous realization — whereas in an actual performance, the actions and objects are all specific, concrete examples. So in a case like this, the ambiguity echoed and amplified the overall effect, making for a very disturbing reading.
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