The Whore's Child
âWhen I was inside, I was trying to remember the word for what you are. Laura told me, but I forgot.â
âCuckold?â Martin suggested.
Robert Trevor didnât respond right away. This was a man whose equilibrium did not tilt easily, and Martin found himself admiring that. His eyes were a piercing, pale blue. Laura, naked, had allowed him to turn them on her. âNow
thereâs
a Renaissance word for you,â Trevor said finally. âA Renaissance notion, actually.â
âYou think so?â Martin said, pressing what he felt should have been his advantage. âHave you ever been married, Robert?â
âNever,â the painter admitted. âFlawed concept, I always thought.â
âSome might say itâs people who are flawed, not the concept.â
Robert Trevor looked off in the distance as if he were considering the merit of Martinâs observation, but then he said, âGaffer! Thatâs what you are. Youâre a gaffer.â
Martin had to restrain a smile. Clearly, if heâd come all this way in hopes of an apology, he was going to be disappointed. The good news was that this was notâhe was pretty sureâwhat he had come for.
âLaura explained it all to me one afternoon,â Trevor explained.
âActually, Iâm a D.P. now,â Martin said, and was immediately ashamed of his need to explain that heâd come up in the world.
Trevor frowned. âDip?â he said. âYouâre a dip, Martin?â
âDirector of photography.â
âAh,â the other man said. âI guess that makes you an artist.â
âNo,â Martin said quietly. âMerely a technician.â
Heâd been called an artist, though. Peter Axelrod considered him one. Heâd gotten an urgent call from Peter one night a few years ago, asking Martin to come to the set where he was shooting a picture that starred a famously difficult actor. It was a small film, serious in content and intent, and for the first three weeks the director and star had been embroiled in a quiet struggle. The actor was determined to give a performance that would be hailed as masterfully understated. To Peterâs way of thinking, his performance, to this point, was barely implied. Worse, the next day theyâd be shooting one of the pivotal scenes.
Martin found his old friend sitting alone in a makeshift theater near the set, morosely studying the dailies. Martin took a seat in the folding chair next to him and together they watched take after take. After half an hour, Peter called for the lights. âThereâs nothing to choose from,â he complained, rubbing his forehead. âHe does the same thing every fucking take, no matter what I suggest.â
To Martin, perhaps because he could focus on one thing while his friend had to juggle fifty, the problem was obvious. âDonât argue with him. Heâs just going to dig his heels in deeper, the way they all do. You want a star performance, light him like a star, not like a character actor.â
Peter considered this advice for all of about five seconds. âSon of a
bitch,
â he said. âDavidâs in cahoots with him, isnât he.â David, a man Martin knew well, was Peterâs D.P. on the film. âI should shit-can the prick and hire you right this second.â
Martin, of course, had demurred. The following week he was starting work on another picture, and Peterâs offer wasnât so much literal as symbolic, a token to his gratitude. âYou just saved this picture,â he told Martin out on the lot. âIn fact, you just saved me.â
The two men were shaking hands then, when Peter remembered. âI was sorry to hear about Laura,â he said, looking stricken. âIt must have been awful.â
âPretty bad,â Martin admitted. âShe weighed about eighty pounds at the end.â
The two men looked around the lot. âMovies,â the director said, shaking his head. âI wonder what weâd have done if weâd decided to live real lives and have real careers.â
âYou love movies,â Martin pointed out.
âI know,â Peter had admitted. âGod help me, I do.â
âMerely a technician,â Trevor repeated now, improbably seated across from Martin on the opposite coast. Heâd already drained half his beer, while Martin, never a beer drinker, had barely touched his.
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