Unsympathetic Magic - Laura Resnick [3]
We were shooting in the East 120s tonight. Although that’s in Harlem, like the Thirtieth Precinct, the neighborhood is not actually part of the Three-Oh. In fact, although I’d spent four of my five D30 working days on location (since the death of her pimp, Jilly was homeless, and most of my scenes were filmed outdoors), we hadn’t gone anywhere near the Thirtieth. I gathered from the crew that this was because the cops of the Thirtieth unanimously hated the show. During its first season, they had tried (unsuccessfully) to prevent D30 from getting any permits to film on location in their precinct, and there’d been some unpleasant incidents on the few occasions that the show had done location work there. So the producers decided it just best to film elsewhere thereafter. Since then, every episode contained some establishing shots filmed in the Thirtieth (which reputedly galled the real-life cops there), but no actual scenes were filmed in the precinct.
The night before, we had filmed in another part of town, where the location scouts had found a filthy, urine-scented basement stairwell that they liked. In that scene, a quick bout of impersonal, fully-clothed coitus between Detective Conway and Jilly came to a sudden halt when Conway had a debilitating flashback to being shot the previous season. He then exchanged some confessional dialogue with Jilly in which he came close to treating her like a person. Jilly, slightly mellowed by sharing Conway’s flask of scotch, experienced an unexpected moment of compassion for the corrupt cop who was victimizing her. It was a great scene, and I had really enjoyed doing it despite the humid heat, Jilly’s uncomfortable clothes, the overwhelming odor of urine, and Nolan’s tantrum about the lighting.
Tonight’s scene contained more strong writing. Having opened up to Jilly (ever so slightly) in the previous scene, Conway now resented her for glimpsing his vulnerability. So in this scene, he would make her get on her knees before him in a darkened street; it was an attempt to put her back in her place as a hooker, a junkie, and his stooge. And while forcing her to pleasure him sexually, he would stay focused on asking questions about criminal business—in particular, questions that could get Jilly killed.
The characters’ previous scene had been a personal, even slightly touching encounter, in a grim, dreary setting. In tonight’s scene, by contrast, Conway’s deliberate attempt to demean Jilly would occur in attractive, romantically lighted surroundings. And in the final moments of the scene, Jilly would give as good as she got, humiliating Conway, in turn, with a few well chosen words, now that their previous encounter had given away his weakness.
Last night’s scene had probably been the most challenging one for me and Nolan, since it required us—two actors who didn’t like each other—to find an emotional connection between our characters, however brief and subtle it was. Tonight’s scene, by contrast, was ideally suited to the adversarial energy that existed between us as people (and that seemed to exist between Nolan and most people). While waiting for the crew to finish their lighting and sound checks, we were running lines together, and it was going well.
The makeup artist touched up my face while I recited some dialogue about a pending sale of automatic weapons and cop killer bullets that was due to occur somewhere in the precinct. I looked in the mirror that the makeup artist handed me, then nodded to show that I was satisfied if she was. The pale skin, shoulder-length brown hair, brown eyes, and good cheekbones were my own. The heavy, smudged eye makeup, the ill-advised lipstick color, and the stringy, unkempt hairdo were Jilly’s.
Then the makeup artist tried to touch up Nolan’s face. With an irritable scowl, he shoved her hand away and finished saying his line. Without glancing at her, he then grabbed the mirror from her and