What You See in the Dark - Manuel Munoz [14]
Are you willing to wear only a brassiere for the opening scene? The Director had asked her. It’s important for the atmosphere.
Fruit. Cotton. Oil. The land spread out as far as she could see. The story of the woman would take place in the Valley, but there was no landmark to let the audience know. No leaning tower, no red bridge, no streets of stark white monuments. It was a terrible story to tell.
Ma’am, I know where I can have you fitted for some black brassieres, a wardrobe mistress assured her. Very elegant, very discreet.
The script made no claim on morals, on shame, on right or wrong. But there were white brassieres and black ones, a black purse matched by a white one. What for, if only to signal the audience? Were things ever so clear in real life?
In the story, there was a sister. She kept her clothes on. The Actress wondered about that role, if maybe it wasn’t the one she should be playing.
The road started down, and just as she suspected, her stomach sank. She wanted to lean back into her seat and not look ahead, where the view of the majestic Valley dipped away from their sight, obscured by the hills as the road dove down their descent. The curves began making her feel nauseated and regretful of the orange juice and croissant she’d had for breakfast, but the Actress remained leaning forward, one hand on the bench seat, feeling a little proud of her bravery as the driver negotiated the turns.
The girl will do anything. She steals the money and runs.
She could not ask the Director. She only asked herself, silently. What is it like to love a man who left his wife, who is still angry at her? What is it like to steal money? What is it like to run? What is it like to know you’ve made an error, to know you’ve acted in complete haste? What is it like to have a police officer arrest you? What is it like to know there might not be a turning back?
Would she do anything?
In my opinion, the girl should bare her breasts in the opening scene. It would tell the audience everything about how tawdry and put-upon this girl is. But we’re behind the times. Oh, now, I can see by that look on your face that you wouldn’t have done a nude scene. Rest assured that I would never have asked you to do so. But in ten years’ time, I do believe it will be fairly common practice, don’t you agree? Don’t you think the European girls will show us their bare breasts before the Americans?
The feeling in her stomach lightened. The road had only a few curves left, but already she could see that the hills were giving way, as if they were gates of some kind, and the Valley opened up before them, Bakersfield now a straight shot along the flat, dry road.
“Thank you,” the Actress said, and she put her hand on the driver’s shoulder. She could feel his strength through her finger tips. “I appreciate getting here safely.”
Three
Around town, she was known as Mrs. Watson, even though the badge on her pink waitress uniform told everyone at the café that her name was Arlene. She was the woman with the brown hair in a tight bun and a mouth set in a hard straight line. “Mrs. Watson” had always sounded old to her, a school-marm name, even if people used it with respect. A school-marm, though not as old as one. But she had worked there so long that people assumed she was older than she was. She had first started back in 1946—thirteen years ago now—but even then, when she was only thirty-four years old, people called her Mrs. Watson.
They called her that because they knew her husband, Frederick, one of the first proprietors of a business out by Highway 99, a motel built with his own hands, one wing at a time. He had been young when he put up the motel—only in his thirties—and yet people called him Mr. Watson out of respect. They admired his prescience when the roads toward Los Angeles were later improved by the state. More trucks, more produce, more barrels of oil, more chickens, more hogs. All of those drivers needed a place to sleep and they stopped at Watson’s Inn. What a sharp business mind—and for someone