Wouldn't be a bad-looking woman, Rune thought, if her mother dressed her right.
They stopped in front of her. The shorter one smiled. The tall blonde said, "So you're the reporter from, what was it, Erotic Film Monthly?" She shook her head. "I thought I knew everybody from the industry mags. Are you new with them?"
Rune started to continue the lie. But impulsively she said, "What I am is dishonest."
Which got a faint smile. "Oh?"
"I lied to the receptionist. To get in the front door. Are you Shelly Lowe?"
A momentary frown. Then she gave a curious smile and said, "Yes. But that's not my real name."
The handshake was strong, a man's grip, confident.
Her friend said, "I'm Nicole. That is my real name. But my last name isn't. D'Orleans." She gave it a Gallic pronunciation. "But it's spelled like the city."
Rune took her hand carefully; Nicole had inch-long purple fingernails.
"I'm Rune."
"Interesting," Shelly said. "Is it real?"
Rune shrugged. "As real as yours."
" Lot of stage names in our business," Shelly said. "I lose track sometimes. Now tell me why you're a liar."
"I thought they'd kick me out if I was honest."
"Why would they do that? You a right-wing crazy? You don't look like one."
Rune said, "I want to make a movie about you."
"Do you now?"
"You know about the bombing?"
"Oh, that was terrible," Nicole said, actually shivering in an exaggerated way.
"We all know about it," Shelly said.
"I want to use it as sort of a jumping-off point for my film."
"And I'm the one you want to jump to?" Shelly asked.
Rune thought about those words, thought about disagreeing with her but said, "That's about it."
"Why me?"
"Just a coincidence really. One of your pictures was playing when the bomb went off."
Shelly nodded slowly, and Rune found herself staring at her. Nicole was scrunching her broad, shiny face at the mention of the explosion and the deaths in the theater, closing her eyes, practically crossing herself, while Shelly was simply listening, leaning against a column, her arms crossed.
Rune's thoughts were muddled. Under Shelly's gaze she felt young and silly, a child being indulged.
Nicole took a package of sugar-free gum from her pocket, unwrapped a stick and began to chew.
Rune said, "Anyway, that's what I want to do."
Shelly said, "You know anything about the adult-film business?"
"I used to work for a video store. My boss said the adult films gave us the best margin."
She was proud of herself for that, saying something aboutbusiness. Margin. A mature way to talk about fuck films.
"There's money to be made," Shelly said. Hers were eyes that sent out a direct light. Pale blue laser beam. They were intense at the moment but Rune sensed they were switch-able-that Shelly could choose in an instant to be probing or angry or vindictive by a slight touch to the nerves. Rune assessed too that her eyes wouldn't dance with humor and there was a lot they chose not to say. She wanted to start her documentary with the camera on Shelly's eyes.
The actress said nothing, glanced at Nicole, who chewed her gum enthusiastically.
"Do you two, like, perform together?" Rune blushed fiery red.
The actresses shared a glance, then laughed.
"I mean…," Rune began.
"Do we work together?" Nicole filled in.
"Sometimes," Shelly said.
"We're roommates too," Nicole said.
Rune glanced at the iron pillars and tin ceiling. "This is an interesting place. This studio."
"It used to be a shirtwaist factory."
"Yeah? What's that?" Nicole asked.
"A woman's blouse," Shelly said, not looking down from the ceiling.
Shelly is tall and she isn't a stunning beauty. Her presence comes from her figure (and eyes'.). Her cheekbones are low. She has skin the consistency and the pale shade of a summer overcast. "How did I get into the business? I was raped when I was twelve. My uncle molested me. I'm a heroin addict-don't I cover it up well? I was kidnaped by migrant workers in Michigan…"
Nicole lit a cigarette. She kept working on the gum too.
Shelly looked down from the tin panels at Rune. "So this would be a documentary?"
Rune said, "Like on PBS."
Nicole said, "Somebody wanted me to do one once, this guy. A documentary. But you know what he really wanted."
Shelly asked, "Still hot out?"
"Boiling."
Nicole gavea faint laugh, though Rune had no idea what she was thinking of.
Shelly walked to a spot where cold air cascaded on the floor. She turned and examined Rune. "You seem enthusiastic. More enthusiastic than talented. Excuse me. That's just my opinion. Well, about your film-I want to think about it. Let me know where I can get in touch with you."
"See, it'll be great. I can-"
"Let me think about it," Shelly said calmly.
Rune hesitated, looked at the woman's aloof face for a long moment. Then dug into her leopard-skin bag, but before she found her Road Runner pen Shelly produced a heavy, lacquered Mont Blanc. She took it; felt the warmth of the barrel. She wrote slowly but Shelly's gaze made her uneasy and the lines were lumpy and uneven. She gave Shelly the paper and said, "That's where I live. Christopher Street. All the way to the end. At the river. You'll see me." She paused. "Will I see you?"
"Maybe," Shelly said.
"Yo, film me, momma, come on, film me."
"Hey, you wanna shoot my dick? You got yourself a wide-angle lens, you can shoot my dick."
"Shit, be a microscope what she need for that."
"Yo, fuck you, man."
Walking out of the Times Square subway, Rune ignored her admirers, hefted the camera to her shoulder and walked along the platform. She passed a half-dozen beggars, shaking her head at their pleas for coins, but she dropped a couple of quarters into a box in front of a young South American couple giving a tango demonstration to the rattling music of a boom box.
It was eight p.m., a week after she'd first met with Shelly and Nicole. Rune had called Shelly twice. At first the actress had been pretty evasive about doing the film but the second time she'd called, Shelly had said, "If Iwere to do it would you give me a chance to review the final cut?"
From her work at L &R, and her love of movies in general, Rune knew that the final cut-the last version of the film, what was shown in the theaters-was the Holy Grail of the film business. Only producers and a few elite directors controlled the final cut. No actor in the history of Hollywood ever had final cut approval.
But she now said, "Yes."
Instinctively feeling that it was the only way she could get Shelly Lowe to do the film.
"I'll let you know in a day or two for sure."
Rune was now out looking for atmosphere footage and for establishing shots-the long-angle scenes in films that orient the audience and tell them what city or neighborhood they're in.
And there was plenty of atmosphere here. Life in the Tenderloin, Times Square. The heart of the porno district in New York. She was excited at the thought of actually shooting footage for her first film but remembered the words of Larry, her mentor, as she was heading out of L &rR studios that night. "Don't overdo it, Rune. Any frig-gin' idiot can put together ninety minutes of great atmosphere. The story's the important thing. Don't ever bleedin' forget that. The story."
She eased into the swirl and noise and madness of Times Square, the intersection of Seventh Avenue, Broadway and Forty-second. She waited at the curb for the light, looking down at the accidental montage embedded in the asphalt at her feet: a Stroh's bottle cap, a piece of green glass, a brass key, two pennies. She squinted; in the arrangement, she saw a devil's face.