Faith had been to Penny Bartlett's house on several occasions. It was a large Victorian that contradicted Faith's prior association of Victorian houses with crowded, dark rooms, memories of antimacassars and aspidistras still haunting the corners. Penny's house was filled with light. There was stained glass, plenty of odd-shaped windows, and gingerbread trim, but the Bartletts had cleared away the huge trees and monstrous shrubs shadowing the house and let in the sun. The house was painted a warm buttercup yellow, with deep green, almost black, shutters and white trim.
She wanted to ask Millicent why it was a foregone conclusion that Penny wouldn't move back in with her brother. It obviously had something to do with why they didn't speak to each other. Millicent rarely responded to questions, though, preferring to be the recipient of information and choosing what she would share. But the woman had wolfed down two of Faith's cookies and a large mug of coffee. It was worth a try.
“Did Penny and Alden have some sort of quarrel? I've heard they don't speak to one another."
“Yes, I believe I have heard something like that. To be more precise, Faith dear—and it is so important to be precise, don't you agree?—Penny doesn't speak to Alden. He's constantly making outrageous remarks in her presence. Howsomever, these things are all ancient history, and we must concentrate on our present goal.”
Effectively shut out, as well as reprimanded, Faith could only think to comment, "It's a shame Penny never had any children. She's so wonderful with them.”
Millicent looked down at the counter. "Francis Bartlett had some sort of plumbing problem," she said vaguely. Doling out this information as a sop for withholding the rest?
Now how on earth did she find that out? Faith almost found herself asking Miss McKinley, maidenly reticence not withstanding, but to her relief, Millicent stood up abruptly, brushed the crumbs off her plaid Pendleton suit, put on her gloves, and said, "I can't sit here all day chitchatting, my dear:' And she left with one last parting glance of annoyance in Faith's direction for having wasted her time, diverting her from her mission.
Faith put the loaves she'd formed to rise again. All in a row, the rounded mounds looked like a series of low foothills. That reminded her of North Aleford. She was well acquainted with the way certain residents of this area of town regarded themselves. Maybe it was living on a hill, like Beacon Hill. Did people who looked down on the rest of the town eventually come to look down on them in other ways? Something about being top dog, top of the heap, king of the hill?
She thought wearily of working on Penny's campaign with Millicent, apparently the self-anointed campaign manager. The election was to be held March 26. If, as she hoped, she got the contract to cater the movie shoot, she'd be in the midst of the job and Tom would have to bear the brunt of the campaign responsibilities. She felt more cheerful. It was true that politics made strange bedfellows, but seldom ones who kicked half the night and hogged the blankets as much as Millicent did.
Faith had catered for shoots in New York, and she was quick to get her name in to Alan Morris. He arranged to come by the kitchens for a tasting later that week on one of his flying visits through town. Faith was ready for him.
“Great," he said, referring perhaps both to the attractive lady in front of him and the mouthful of warm pizzette with pears, brie, and caramelized onions (see recipe on page 326) he'd just swallowed. Faith had let her shining blond hair grow longer over the winter and now it grazed her chin in a simple blunt cut. She'd diligently lost the weight she'd put on in pregnancy, and at thirty-two, she caused as many heads to turn as she had at twenty-two, a fact that, while diminishing somewhat in importance over the years, still didn't bother her in the slightest. After the initial shock of that milestone birthday, her thirtieth, she was enjoying being thirtysomething and firmly believed the best ten years of a woman's life were between thirty-nine and forty, which gave her something to anticipate.
Alan was now speedily devouring a plateful of spinach lasagna with a three-cheese béchamel sauce, while keeping a close eye on the medley of Have Faith desserts beckoning from the counter next to him: flour-less chocolate cake with raspberry coulis, a steaming fruit grantiné, and crisp dark molasses spice cookies (see recipe on page 329). He smiled. "Max is really going to be happy." From the relief in his voice, it was no secret that keeping Max happy was Alan Morris's most important job.
Max was Maxwell Reed, the director of the film. At fifty-two, he was both a legend and an enigma in Tinseltown. Known as the "New Jersey Fellini," owing to his origins as the son of a wealthy shoe manufacturer from Montclair, Reed made obscure but critically acclaimed films, often in black and white. While he was the subject of a shelf full of biographies and critical studies in Europe, he'd received little recognition in his native land. He took great pains to make it clear this bothered him not at all, but the Word on the street was that he needed a big commercial success to keep attracting backers. And the movie about to be shot in Ale- ford had to be it. No matter how much Vincent Canby and The New York Times loved it, if it didn't do at least $9 million in wide release the first weekend, Reed would be yesterday's news for the foreseeable future and could watch his films move from "New and Recommended" to "Cult" in the video stores.
Mercurial, with mood swings so rapid that a sentence could start on an up note and plunge two words later to despair, Max Reed had attracted a group of actors, actresses, and crew who slavishly followed him from film to film, deeming it an honor to work with the master. He rewarded their loyalty with his, making film after film with the same individuals, often playing roles himself, yet never duplicating an effect. His most famous film, Maggot Morning, cast his constant companion, the beautiful Evelyn O'Clair, as an elderly homeless woman. She won an Academy Award for best actress and went on to other roles, keeping herself available, however, for Max's films. Speculation was that fresh from her sizzling triumph for another director in Body Parts, Max wouldn't be hiding Evelyn's attributes under any bushel baskets or behind shopping bags the way he had done quite literally in Maggot, as it was called in the trades.
Maxwell Reed was also known for his obsession with security on the set. Often the actors themselves didn't know the name or plot of the movie they were shooting until it was released. He'd broken with custom this time and let it be known he was making a modern reinterpretation of Nathaniel Hawthorne's Scarlet Letter. The name of the picture was A. He'd also hired two actors who'd never appeared in any of his films previously but who were box-office magic. Over T9 Nants and Evians at the Polo Lounge, heads were nodding just perceptibly—Max was desperate indeed. If he pulled it off, the same nods could later be translated as "I told you so.”
The first ringer was Caleb "Cappy" Camson, star of the phenomenally successful TV series "1-800-5551212" when he was a teenager, later making a graceful transition to films. His tanned, well-developed physique, thick, dark, always slightly tousled curls, and deep brown eyes with the requisite gold flecks guaranteed any movie in which he was cast at least initially large audiences. Cappy had been in the business long enough to know his limitations and ventured from romantic comedy only for a comic romance. But nobody turned down the chance to work with Max Reed—not even Cappy. He'd modified the curls and agreed to less flattering makeup in order to play the role of the tormented young minister, Arthur Dimmesdale.
Max's other orthodox move was to cast Caresse Carroll as Pearl, Hester Prynne's daughter. Eight-year-old Caresse would be playing a major role; it could be a stretch, but Caresse was a pro down to her toenails. At age four, she'd nagged her mother, Jacqueline, into auditioning her for commercials. "I can do that," she'd said, and hadn't looked back. She was the child of choice for a whole string of space alien and horror movies. "It may not be art, but I'm working," she told her mother at six. Currently, the trades labeled her "America's Sweetheart for the Nineties" after her gutsy portrayal of a little girl who saves the family split-level, after her parents lose their auto-plant jobs, by forming a recycling company that ends up em
ploying most of the town. Caresse didn't have Shirley Temple's dimples or curly hair. In fact, her features werd a bit odd—straight, silken white-blond hair and large aquamarine eyes that Caresse was able to fill with tears, flash with fear, or twinkle with delight depending on the script. But it was her smile that was instantly recognizable to millions of Americans. Warm, engaging, it was the kind of smile that, well, gosh darn it, made you just have to smile right back. An eminently bankable smile.
Casting her as.Pearl months before, Max planned to use Caresse's pale luminescence to personify the name. The child was a metaphor, he told Caresse and her mother, for the essential innocence of Hester Prynne's act, a jewel beyond price to be worn proudly at her mother's breast, next to the scarlet letter of her supposed shame. Hester herself was Everywoman and Pearl, Everychild. Jacqueline and Caresse nodded solemnly when he'd related this to them in his office early in the fall. Neither had the faintest idea what he was talking about, yet, whatever it was, they both had no doubt. Caresse could do it.
Max knew Caresse was older than Hawthorne's Pearl, but audiences might find it hard to believe a three-year-old could discourse as eloquently as he'd planned on the meaning of life and existence of God. The director had told his assistant, Alan, that Hawthorne's book was a canvas—a masterpiece—to which they would essentially be adding brushstrokes, such as increasing Pearl's age.
Sitting silently in a chair next to Max since the Car-rolls' arrival was Evelyn O'Clair, who would, of course, play the role of Hester Prynne. Max had cast himself as Chillingworth, the older husband who returns after a long absence to find his wife the outcast of the community for the adulterous conception of a child. The director had felt a little awkward explaining all this to Caresse. He wasn't used to children, although he would have to be, since Evelyn was about to give birth, fortunately well before the picture started.
Caresse was getting bored with the meeting. It was a pretty cheesy office, no bar or any evidence of snacks—not even an entertainment system. Just a big desk, a couple of chairs, a couch, and walls that must have been newly painted, since the smell of the stark white paint filled the air. The only thing hanging on them so far was a large calendar. He had a window, though, and a basket of fruit.
Her mother had been the one who was hot to do the movie and was being totally spastic about how lucky Caresse was to work with Maxwell Reed. Caresse herself wasn't so sure about the project. To begin with, the script sucked, a real downer. She'd even tried reading the book but couldn't get past the first page. Her taste in literature ran more to Sweet Valley High, but she knew it wouldn't make a major motion picture. She tried to quell the feeling that accepting this role might not have been the best career move by concentrating on the fact that she would be acting with big names for a big name. Caresse looked over at her mother, who was gazing at the director with open adoration. Caresse felt sorry for her. She needed a man. Caresse wouldn't be surprised if the last time Jacqueline had had sex was when she'd conceived her daughter—with whom, Caresse didn't know. It was the one thing Mom would never discuss.
But definitely Jacqueline wasn't getting any. Not that Caresse was anxious for some old fart to enter their lives and start telling her what to do. She'd trained her mother to know her place, and truthfully, Mom didn't really understand the Business.
Enough was enough. Caresse Carroll turned on her famous smile, tossed her shining hair away from herface, and interrupted Max's convoluted explanation. "Don't worry, Mr. Reed, I know all this stuff. See you in March."
“Call me Max:' he replied, and the meeting came to an end.
Evelyn had not said a Ovoid-not even good-bye.
Two
Crime is for the iron-nerved .. .
Until the call went out for extras, Aleford wasn't sure what it thought about having all these movie people around. There was some surprise at finding neighbors who had affected an attitude of only mild interest now camped out so as to be first in line. But this place had been resolutely claimed by one of the most uninterested of all, Millicent Revere McKinley.
“Maybe she needs the money. The pay is astonishing," related Pix, who had rushed to Have Faith's kitchens to report the news.
“Sure, like Imelda needed shoes," Faith retorted. "She just wants to be where the action is, like most of the rest of Aleford, and the greater Boston area, from what I hear."
“Well, how often does a movie get made in our ownbackyards? I'd try out myself, except I get stage fright painting scenery."
“Why don't you reconsider my offer? Then you'd be on the set every day behind the scenes."
“But, Faith, how could I possibly work for you? You know what I'm like in the kitchen.”
Pix's family was used to having emergency microwaved frozen inners w henever something inexplicable happened to the tuna-noodle or hamburger casseroles that composed the normal Miller bill of fare.
“I keep telling you. You wouldn't have to do any cooking. In fact, I wouldn't let you do any cooking. I have other people to help me, most especially Niki." She waved toward her assistant, who was covering a stack of paper-thin sheets of phyllo dough with a damp towel to keep them from drying out while she spread melted butter lavishly over the one in front of her. "What I need you for is that steel-trap mind of yours—bookkeeping, ordering, counting forks and napkins.”
Pix's face was contorted by a mixture of emotions: Could she? Should she? Would she? She fidgeted about on her long, shapely legs. Pix was an attractive woman with short brown hair, but she tended to downplay her natural gifts with drooping skirts and ancient pullovers.
“I'll think about it," she promised.
“No," Faith said with surprising firmness, "You've been saying this to me for months. You've talked to Sam, talked to the kids, probably even talked to the dogs" Besides Mark, a college freshman, Samantha, a junior in high school, and sixthgrader Danny, the Miller household included a large number of golden retrievers. "I'll give you until tomorrow morning, and if I don't have an answer, I'll have to start advertising the position. We start the movie job in less than two weeks."
“Okay," Pix agreed.
“Okay what? Okay you'll give me an answer or okay you'll do it?"
“Okay I'll do it," Pix mumbled bravely.
After Pix left, Niki asked Faith, "What do you think made her agree? I've been pretty sure she wouldn't after going back and forth all this time. Do you think it's the chance to be on the set?"
“Maybe, but I should have been tougher weeks ago. She's wanted to do it all along. I think she's been afraid of messing up—and when you work for a friend, that's a pretty scary thought. Anyway, she'll be fine, and deep down—I hope—knows it.”
Niki put a generous spoonful of the walnut pesto and ricotta filling she'd made at the top of a strip of the dough before deftly folding it like a flag. They were restocking the freezer with several varieties of phyllo triangles for hors d'oeuvres.
“I'm glad Pix is going to be here. She reminds me of the room mother I had in third grade."
“She probably was the room mother," Faith said. "I don't think there's a town in this area code and beyond that doesn't know to call Pix Miller when they need a volunteer. She's still running the preschool PTA, and her youngest will be shaving soon. Much as I admire what she does, and thank God she'll keep on doing it, I'm going to like handing her a paycheck."
“Mrs. MacDonald!"
“Mrs. MacDonald what?"
“That was the name of my room mother. I used to elbow other kids out of the way so I could hold her hand on field trips, and I would put myself to sleep at night dreaming about being one of her freckle-faced kids. She used to make great devil's food cakes." Niki's nor-smile crossed her lips.
What was it about Massachusetts, Faith wondered, that caused its adult population to wax nostalgic about their childhoods at the drop of a beanie? She'd never noticed this tendency in New York—except maybe in someone who'd grown up in the Bronx.
“I'm not saying she might n
ot have been swayed by the movie job. We're talking about Pix now, Niki, not your sainted Mrs. MacDonald."
“Who wouldn't? I'm pretty excited myself. Cappy Camson. Close your eyes and think of him in those Calvin Klein ads." Niki's sharp edge returned.
“I can do it with my eyes wide open." Faith laughed.
“He wouldn't have been my choice to play the minister, especially a Puritan. I don't remember the book much except for Hester and her red letter, but wasn't Dimmesdale sort of a nerd?"
“That's how I'd recalled him, too, but I reread the book when I heard about the movie, and it's not a bad role for Camson. Maybe he's a little too healthy-looking, but he should be able to portray a man torn between passion and conscience. And Dimmesdale was described as handsome—even the same color hair and eyes as Camson has. I wonder how Reed's going to interpret the character. He has to create something different to keep people from expecting Cappy to get the girl."
“Chillingworth was the villain, right? Wasn't he a minister, too? Maybe I have him confused with Dimmesdale."
“You do. He was a doctor, well versed also in the ancient arts of alchemy." Faith rubbed her hands together, leaned over the simmering stockpot on the stove, and looked wicked in what she judged to be a fair approximation of the doctor at his cauldron of henbane and the like. "He arrives in Boston on the same day the Puritans have put Hester and her baby on the scaffold for show and-tell, only she won't reveal the name of the father. Chillingworth joins the crowd and indicates that she shouldn't recognize him, which she already had instantly because of his ugly face and the fact he had one shoulder higher than the other. He was much older than she was, and she had married him back in England after her parents died because she had no one else to turn to and he had some sort of mesmerizing effect on her. Except she did tell him she didn't love him. After that, he decided they would emigrate, and he sent her on ahead. But then he was shipwrecked, captured by Indians, and whatever else could delay someone in those days before car phones, leaving her on her own for two years. She and Arthur Dimmesdale fell in love. The rest you know.”
The Body in the Cast ff-5 Page 3
