"I'd have been in hospitals all this time, instead of him."
"What, like he'd have been instantly unautistic if you weren't there to take care of him?"
Among things Julie Smith dislikes most are: greeting cards, adoptive parents who adopt without first looking inside themselves and evaluating their capacity for love, the smell of sulphur, John Updike, insects with antennae, and animals in general.
"What about kind women?"
"But insects are maybe the worst. Even if the insect stops moving, the antennae still wave around. The antennae never stop waving around. I can't stand that."
"I love you, Julie."
"I love you too, Faye."
"I couldn't believe I could ever love a woman like this."
Julie shakes her head at the Pacific. "Don't make me sad."
Faye watches a small antennaeless bug skate on legs thin as hairs across the glassy surface of a tidal pool. She clears her throat.
"OK," she says. "This is the only line on an American football field of which there is only one."
Julie laughs. "What is the fifty."
"This, the only month of the year without a national holiday, is named for the Roman emperor who…"
"What is August."
The sun gets higher; the blood goes out of the blue water.
The women move down to stay in the waves' reach.
"The ocean looks like a big blue dog to me, sometimes," Faye says, looking. Julie puts an arm around Faye's bare shoulders.
'We loved her like a daughter,' said "JEOPARDY!" public relations coordinator Muffy deMott. 'We'll be sorry to see her go. Nobody's ever influenced a game show like Ms. Smith influenced "JEOPARDY!"'
— Article, Variety, 13 March 1988.
Weak waves hang, snap, slide. White fingers spill onto the beach and melt into the sand. Faye can see dark sand lighten beneath them as the water inside gets tugged back out with the retreating tide. The beach settles and hisses as it pales. Faye is looking at the side of Julie Smith's face. Julie has the best skin Faye's ever seen on anyone anywhere. It's not just that it's so clear it's flawed, or that here in low sun off water it's the color of a good blush wine; it has the texture of something truly alive, an elastic softness, like a ripe sheath, a pod. It is vulnerable and has depth. It's stretched shiny and tight only over Julie's high curved cheekbones; the bones make her cheeks hollow, her eyes deep-set. The outlines of her face are like clefs, almost Slavic. Everything about her is sort of permeable: even the slim dark gap between her two front teeth seems a kind of slot, some recessive invitation. Julie has used the teeth and their gap to stimulate Faye with a gentle deftness Faye would not have believed.
Julie has looked up. "Why, though?"
Faye looks blankly, shakes her head.
"Poetry, you were talking about." Julie smiles, touching Faye's cheek.
Faye lights a cigarette in the wind. "I've just never liked it. It beats around bushes. Even when I like it, it's nothing more than a really oblique way of saying the obvious, it seems like."
Julie grins. Her front teeth have a gap. "Olé," she says. "But consider how very, very few of us have the equipment to deal with the obvious."
Faye laughs. She wets a finger and makes a Scoreboard mark in the air. They both laugh. An anomalous wave breaks big in the surf. Faye's finger tastes like smoke and salt.
Pat Sajak and Alex Trebek and Bert Convy sit around, in slacks and loosened neckties, in the Merv Griffin Entertainment executive lounge, in the morning, watching a tape of last year's World Series. On the lounge's giant screen a batter flails at a low pitch.
"That was low," Trebek says.
Bert Convy, who is soaking his contact lenses, squints at the replay.
Trebek sits up straight. "Name the best low-ball hitter of all time."
"Joe Pepitone," Sajak says without hesitation.
Trebek looks incredulous. "Joe Pepitone?"
"Willie Stargell was a great low-ball hitter," says Convy. The other two men ignore him.
"Reggie Jackson was great," Sajak muses.
"Still is," Trebek says, looking absently at his nails.
A game show host has a fairly easy professional life. All five of a week's slots can be shot in one long day. Usually one hard week a month is spent on performance work at the studio. The rest of the host's time is his own. Bert Convy makes the rounds of car shows and mall openings and "Love Boat" episodes and is a millionaire several times over. Pat Sajak plays phenomenal racquetball, and gardens, and is learning his third language by mail. Alex, known in the industry as the most dedicated host since Bill Cullen, is to be seen lurking almost daily in some area of the MGE facility, reading, throat-clearing, grooming, worrying.
There's a hit. Sajak throws a can of soda at the screen. Trebek and Convy laugh.
Sajak looks over at Bert Convy. "How's that tooth, Bert?"
Convy's hand strays to his mouth. "Still discolored," he says grimly.
Trebek looks up. "You've got a discolored tooth?"
Convy feels at a bared canine. "A temporary thing. Already clearing up." He narrows his eyes at Alex Trebek. "Just don't tell Merv about it."
Trebek looks around, as if to see who Convy is talking to. "Me? This guy right here? Do I look like that sort of person?"
"You look like a game show host."
Trebek smiles broadly. "Probably because of my perfect and beautiful and flawless teeth."
"Bastard," mutters Convy.
Sajak tells them both to pipe down.
The dynamics of the connection between Faye Goddard and Julie Smith tend, those around them find, to resist clear articulation. Faye is twenty-six and has worked Research on the "JEOPARDY!" staff for the past forty months. Julie is twenty, has foster parents in La Jolla, and has retained her "JEOPARDY!" championship through over seven hundred market-dominating slots.
Forty months ago, game-show production mogul Merv Griffin decided to bring the popular game "JEOPARDY!" back from syndicated oblivion, to retire Art Flemming in favor of the waxily handsome, fairly distinguished, and prenominately dedicated Alex Trebek, the former model who'd made his bones in the game show industry hosting the short-lived "High Rollers" for Barris/NBC. Dee Goddard, who'd written for shows as old as "Truth or Consequences" and "Name That Tune," had worked Promotion/Distribution on "The Joker's Wild," and had finally produced the commercially shaky but criticially acclaimed "Gambit," was hired by MGE as the new "JEOPARDY!'"s production executive. A period of disordered tension followed Griffin's decision to name Janet Lerner Goddard — forty-eight, winner of two Clios, but also the wife of Dee's former husband — as director of the revised show; and in fact Dee is persuaded to stay only when Merv Griffin's executive assistant puts in a personal call to New York, where Faye Goddard, having left Bryn Mawr in 1982 with a degree in library science, is doing an editorial stint at Puzzle magazine. Merv's right-hand man offers to put Faye on staff at "JEOPARDY!" as Category-/Question-researcher.
Faye works for her mother.
Summer, 1985, Faye has been on the "JEOPARDY!" team maybe four months when a soft-spoken and weirdly pretty young woman comes in off the freeway with a dirty jeans jacket, a backpack, and a Times classified ad detailing an MGE contestant search. The girl says she wants "JEOPARDY!"; she's been told she has a head for data. Faye interviews her and is mildly intrigued. The girl gets a solid but by no means spectacular score on a CBE general knowledge quiz, this particular version of which turns out to feature an important zoology section. Julie Smith barely makes it into an audition round.
In a taped audition round, flanked by a swarthy Shriner from Encino and a twig-thin Redding librarian with a towering blond wig, Julie takes the game by a wide margin, but has trouble speaking clearly into her microphone, as well as difficulty with the quirky and distinctive "JEOPARDY!" inversion by which the host "asks" the answer and a contestant supplies the appropriate question. Faye gives Julie an audition score of three out of five. Usually only fives and fours are to be called back. But Alex Trebek, who spends at least part of his free time haunting audition rounds, likes the girl, even after she turns down his invitation for a cola at the MGE commissary; and Dee Goddard and Muffy deMott pick Julie out for special mention from among eighteen other prospectives on the audition tape; and no one on the staff of a program still in its stressful initial struggle to break back into a respectable market share has anything against hauntingly attractive young female contestants. Etc. Julie Smith is called back for insertion into the contestant rotation sometime in early September 1985.