The Last Don - Mario Puzo [54]
“This could be a very big picture,” he told Claudia. “Very, very big. In fact it can’t be small. I know what you’re doing, you’re a very clever girl, but I have to sell a studio on the sex. Of course I’ll sell it to the female stars on feminism. The male star we can get if you soften him a little, give him more moments as a good guy. Now I know you want to be an associate producer on this, but I call the shots. You can have your say, I’m open to reason.”
“I want to have my say on the director,” Claudia said.
“You, the studio, and the stars,” Deere said, laughing.
“I don’t sell it unless I get approval of the director,” Clau-dia said.
“Okay,” Deere said. “So first tell the studio you want to direct, then back down, and they’ll be so relieved that they’ll give you the approval.” He paused for a moment. “Who do you have in mind?”
“Dita Tommey,” Claudia said.
“Good. Clever,” Deere said. “Female stars love her. The Studio too. She brings everything in on budget, she doesn’t live off the picture. But you and I do the casting before we bring her on.”
“Who will you bring it to?” Claudia asked.
“LoddStone,” Deere said. “They go with me pretty much so we won’t have to fight too much about casting and directors. Claudia, you’ve written a perfect script. Witty, exciting, with a great point of view on early feminism and that’s hot today. And sex. You justify Messalina and all women. I’ll talk to Melo and Molly Flanders about your deal and she can talk to Business Affairs at LoddStone.”
“You son of a bitch,” Claudia said. “You’ve already talked to LoddStone?”
“Last night,” Skippy Deere said with a grin. “I brought the script over to them and they gave me the green light if I can put everything together. And listen, Claudia, don’t shit me. I know you’ve got Athena in your pocket on this, that’s why you’re being so tough.” He paused for a moment. “That’s what I told LoddStone. Now let’s go to work.”
That had been the beginning of the great project. She could not let it go down the drain now.
Claudia was approaching the traffic light where she would have to take a left turn onto the side road that would lead her to the Colony. For the first time, she felt a sense of panic. Athena was so strong-willed, as stars must be, that she would never change her mind. No matter; if Athena refused, she would fly to Vegas and ask her brother, Cross, to help. He had never failed her. Not when they were growing up, not when she went to live with her mother, not when their mother died.
Claudia had a memory of the great festive occasions at the Clericuzio mansion on Long Island. A setting from a Grimm’s fairy tale, mansion enclosed by walls, she and Cross playing among the fig trees. There were two groups of boys ranging from eight to twelve years old. The opposing group was led by Dante Clericuzio, grandson of the old Don who had stationed himself at an upstairs window like a dragon.
Dante was an aggressive boy who loved to fight, who loved to be a general, and the only boy who dared to challenge her brother, Cross, in physical combat. Dante had Claudia on the ground, hitting her, trying to beat her into submission, when Cross appeared. Then Dante and Cross had fought. What had struck Claudia then was how confident Cross had been in the face of Dante’s ferocity. And Cross won easily.
And so Claudia could not understand her mother’s choice. How could she not love Cross more? Cross was so much more worthy. Proving his worth by electing to go with his father. And Claudia never doubted that Cross had wanted to stay with his mother and her.
In the years that followed the disruption,