The critic was a particular hate of Malomar’s. She spoke with such authority, she wrote so well, she was so influential but she had no idea at all about what went into the making of a movie. She complained about casting. Didn’t she know that it depended on whom Kellino was fucking in the major female role and then it depended on who was fucking the casting director for the smaller parts? Didn’t she know these were the jealously guarded prerogatives of many people in power in certain movies? There were a thousand broads for each bit part and you could fuck half of them without even giving them anything, just letting them read for it and saying you might call them back for another read. And all those fucking directors building up their own private harems, more powerful than the greatest money-makers in the world as far as beautiful, intelligent women were concerned. Not that you even bothered to do that. Even that was too much trouble and not worth it. What amused Malomar was that the critic was the only one who got the unflappable Houlinan upset.
Kellino was angry about something else. “What the hell does she mean it’s fascist? I’ve been antifascist all my life.”
Malomar said tiredly, “She’s just a pain in the ass. She uses the word ‘fascist’ the way we use the word ‘cunt.’ She doesn’t mean anything by it.”
Kellino was mad as hell. “I don’t give a shit about my acting. But nobody compares me with fascists and gets away with it.”
Houlinan paced up and down the room, almost dipped into Malomar’s box of Monte Cristo cigars, then thought better of it. “That broad is killing us,” he said. “She’s always killing us. And your barring her from previews doesn’t help, Malomar.”
Malomar shrugged. “It’s not supposed to help, I do it for my bile.”
They both looked at him curiously. They knew what bile meant but knew it wasn’t in character for him to say it. Mailwoman had read it in a script that morning.
Houlinan said, “No shit, it’s too late for this picture, but what the hell are we going to do about Clara on the next one?”
Malomar said, “You’re Kellino’s personal press agent, do what you want. Clara’s your baby.”
He was hoping to end this conference early. If it had been just Houlinan, it would have ended in two minutes. But Kellino was one of the truly great stars, and his ass had to be kissed with infinite patience and extreme shows of love.
Malomar had the rest of the day and evening scheduled for the cutting room. His greatest pleasure. He was one of the greatest film editors in the business and he knew it. And besides, he loved cutting a film so that all the starlet heads dropped on the floor. It was easy to recognize them. The unnecessary close-ups of a pretty girl watching the main action. The director had banged her, and that was his payoff. Malomar in his cutting room chopped her right out unless he liked the director or the one-in-a-million times the shot worked. Jesus, how many broads had put out to see themselves up there on the screen for one split second, thinking that one split second would send them on the way to fame and fortune. That their beauty and talent would flash out like lightning. Malomar was tired of beautiful women. They were a pain in the ass, especially if they were bright. Which didn’t mean he didn’t get hooked once in a while. He’d had his share of disastrous marriages, three, all with actresses. Now he was looking for any broad who wasn’t hustling him for something. He felt about pretty girls as a lawyer feels hearing his phone ring. It can mean only trouble.
“Get one of your secretaries in here,” Kellino said. Malomar rang the buzzer on his desk, and a girl appeared in the door as if by magic. As she better had. Malomar had four secretaries: two guarding the outer door of his offices and another two guarding the inner sanctum door, one on each side like dragons. No matter what disasters happened-when Malomar rang his buzzer, somebody appeared. Three years ago the impossible had happened. He had pressed the buzzer and nothing happened. One secretary was having a nervous breakdown in a nearby executive office, and a free-lance producer was curing her with some head. Another had dashed upstairs to accounting to get some figures on the grosses of a film. The third was out sick that day. The fourth and last had been overcome with a painful desire to take a leak, and gambled. She established a woman’s record for taking a leak, but it was not enough. In that fatal few seconds Malomar rang his buzzer and four secretaries were not insurance enough. Nobody appeared. All four were fired.
Now Kellino dictated a letter to Clara Ford. Malomar admired his style. And knew what he was getting to. He didn’t bother to tell Kellino that there was no chance.
“Dear Miss Ford,” Kellino dictated. “Only my admiration for your work impels me to write this letter and point out a few areas where I disagree with you in your review of my new film. Please don’t think this is a complaint of any kind. I respect your integrity enough and revere your intelligence too much to voice an idle complaint. I just want to state that the failure of the film, if indeed it is a failure, is entirely due to my inexperience as a director. I still think it was a beautifully written script. I think the people who worked with me in the film were very good and handicapped by me as a director. That is all I have to say except that I am still one of your fans and maybe someday we can get together for lunch and a drink and really talk about film and art. I feel that I have a great deal to learn before I direct my next film (which won’t be for quite a long time, I assure you) and what better person to learn from than you? Sincerely, Kellino.”
“It won’t work,” Malomar said.
“Maybe,” Houlinan said.
“You’ll have to go after her and fuck her brains out,” Malomar said. “And she’s too smart a broad to fall for your line of bullshit.”
Kellino said, “I really admire her. I really want to learn from her.”
“Never mind that,” Houlinan almost yelled. “Fuck her. Jesus. That’s the answer. Fuck her brains out.”
Malomar suddenly found them both unbearable. “Don’t do it in my office,” he said. “Get out of here and let me work.”
They left. He didn’t bother to walk them to the door.
– -
The next morning in his special suite of offices in Tri-Culture Studios, Houlinan was doing what he liked to do best. He was preparing press releases that would make one of his clients look like God. He had consulted Kellino’s contract to make sure that he had the legal authority to do what he had to do, and then he wrote:
TRI-CULTURE STUDIOS MALOMAR FILMS
PRESENT
A MALOMAR-KELLINO PRODUCTION
STARRING
UGO KELLINO
FAY MEADOWS
IN A UGO KELLINO FILM
“JOYRIDE”
DIRECTED BY BERNARD MALOMAR
… also starring, and then he scribbled a few names very small to indicate the small type. Then he put: “Executive Producers Ugo Kellino and Hagan Cord.” Then: “Produced by Malomar and Kellino.” And then he indicated much smaller type: “Screenplay by John Merlyn from the novel by John Merlyn.” He leaned back in his chair and admired his work. He buzzed his secretary to type it up and then asked his secretary to bring in the Kellino obituary file.
He loved to look at that file. It was thick with the operations that would be put into effect on Kellino’s death. He and Kellino had worked for a month up in Palm Springs perfecting the plan. Not that Kellino expected to die, but he wanted to make sure that when he did, everybody would know what a great man he had been. There was a thick folder which contained all the names of everybody he knew in show business who would be called for quotes upon his death. There was a complete outline on a television tribute. A two-hour special.