Nothing but Trouble_ A Kevin Kerney Novel - Michael Mcgarrity [139]
“Good deal.”
“This case is going to get me reelected by a landslide next year.”
“You deserve to be reelected. But do you really think, in spite of your good work, that the citizens of Virden are going to vote for you?” Kerney asked.
Leo guffawed. “Hell, no, but I’ll win anyway.”
The two men watched moviemaking magic for a while more before Leo shook Kerney’s hand, thanked him, and left. Kerney hung around until the police-related shots were done and then headed back to Playas. Sara had e-mailed him last night. In two hours she would be calling from Iraq. He couldn’t take the chance that the call would be dropped because of poor reception. He’d pick up Patrick, drive to Deming, and take her call there.
Although the conversation with Sara was long and upbeat, talking to her only served to drive home her absence. It gut-wrenched Kerney, and Patrick took it no better.
“I want to go home to the ranch, Daddy,” he said tearfully after the call ended.
“You know Mommy won’t be there, sport.”
“I know. But I don’t like it here anymore.”
“Let’s see what we can do about it.”
That evening after dinner, with Patrick at his side, Kerney approached Susan Berman and asked if he could be released from the remainder of his contract.
“I thought coming down here would be a good distraction for Patrick and me,” he added. “But I think it’s time for us to go home and try to get back to a normal life.”
Susan nodded sympathetically. “Of course. Can you stay on until we shoot the mob scene in front of the police station tomorrow? Malcolm wants the police reaction to be as realistic as possible.”
“I’ll be glad to,” Kerney said.
“Good,” Susan said. She paused as if to say more, thought better of it, smiled down at Patrick, and walked toward the production office.
“We go home tomorrow, champ,” Kerney said to Patrick as he hoisted him into his arms.
Patrick lit up. “When do I get my pony?” he asked.
“Very soon.”
The script called for the mob sequence at the police station to be shot in the evening, after the rancher and his cohorts had been arrested at the smelter. Kerney, who had no intention of staying in Playas another night, packed up and loaded the luggage in the truck before rehearsals began. He dropped Patrick at the nanny’s with a promise get him as soon as he finished, so they could leave immediately for Santa Fe.
At the set a hundred extras who played angry citizens, reporters, and bystanders milled around. The script called for all the lead actors and the supporting cast who’d participated in the cattle drive to be perp-walked to the police station. The mob would rush the cops in an attempt to gain the prisoners’ release. Once the prisoners were inside, the crowd would overturn a squad car and break the police-station windows before order could be restored.
Kerney spent an hour with Usher as he blocked the sequence, and answered his questions about how the police would react to protect the prisoners and quell the mob. When Usher was satisfied with the blocking, he went to the bank of TV monitors and called for a run-through of each shot. Kerney stood next to him and watched the screens.
Usher made camera adjustments and lighting changes, and by watching the monitors Kerney got a director’s view of the complexities of moviemaking. It was all about point of view, capturing different perspectives, and heightening the tension.
When it was over, Kerney said good-bye to Susan Berman and went to his truck, where he found Agent Fidel waiting for him.
“Bratton tells me you’re leaving,” Fidel said.
Kerney nodded. “I’m heartbroken that I couldn’t be of any help to you.”
“You served your purpose.”
“Thanks for the kind words,” Kerney replied. “You’re a real piece of work, Fidel.”
“What’s that supposed to mean?”
Kerney stepped around Fidel and opened the truck door. “Have you busted the smuggling ring?”
“We have a plan in the works.”
Kerney shook his head and got in the truck. “Another plan?