Dusk and Other Stories - James Salter [27]
Still, lying there with the magazine on her knees she could not help thinking of it. What had actually become of Truus? She looked at the photograph again. Had she found her way to Amsterdam or Paris and, making dirty movies or whatever, met someone? It was unbearable to think of her being invited to places, slimmer now, sitting in the brilliance of crowded restaurants with her complexion still bad beneath the makeup and the morals of a housefly. The idea that there is an unearned happiness, that certain people find their way to it, nearly made her sick. Like the girl Ned was marrying who used to work in the catering shop just off the highway near Bridgehampton. That had been a blow, that had been more than a blow. But then nothing, almost nothing, really made sense anymore.
THE CINEMA
I.
At ten-thirty then, she arrived. They were waiting. The door at the far end opened and somewhat shyly, trying to see in the dimness if anyone was there, her long hair hanging like a schoolgirl’s, everyone watching, she slowly, almost reluctantly approached. … Behind her came the young woman who was her secretary.
Great faces cannot be explained. She had a long nose, a mouth, a curious distance between the eyes. It was a face open and unknowable. It pronounced itself somehow indifferent to life.
When he was introduced to her, Guivi, the leading man, smiled. His teeth were large and there existed a space between the incisors. On his chin was a mole. These defects at that time were revered. He’d had only four or five roles, his discovery was sudden, the shot in which he appeared for the first time was often called one of the most memorable introductions in all of film. It was true. There is sometimes one image which outlasts everything, even the names are forgotten. He held her chair. She acknowledged the introductions faintly, one could hardly hear her voice.
The director leaned forward and began to talk. They would rehearse for ten days in this bare hall. Anna’s face was buried in her collar as he spoke. The director was new to her. He was a small man known as a hard worker. The saliva flew from his mouth as he talked. She had never rehearsed a film before, not for Fellini, not for Chabrol. She was trying to listen to what he said. She felt strongly the presence of others around her. Guivi sat calmly, smoking a cigarette. She glanced at him unseen.
They began to read, sitting at the table together. Make no attempt to find meaning, Iles told them, not so soon, this was only the first step. There were no windows. There was neither day nor night. Their words seemed to rise, to vanish like smoke above them. Guivi read his lines as if laying down cards of no particular importance. Bridge was his passion. He gave it all his nights. Halfway through, he touched her shoulder lightly as he was doing an intimate part. She seemed not to notice. She was like a lizard, only her throat was beating. The next time he touched her hair. That single gesture, so natural as to be almost unintended, made her quiet, stilled her fears.
She fled afterward. She went directly back to the Hotel de Ville. Her room was filled with objects. On the desk were books still wrapped in brown paper, magazines in various languages, letters hastily read. There was a small anteroom, not regularly shaped, and a bedroom beyond. The bed was large. In the manner of a sequence when the camera carefully, increasing our apprehension, moves from detail to detail, the bathroom door, half-open, revealed a vast array of bottles, of dark perfumes, medicines, things unknown. Far below on Via Sistina was the sound of traffic.
The next day she was better, she was like a woman ready to work. She brushed her hair back with her hand