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The psychiatrist hikes his eyebrows a little. They are black and angled, almost hinged.

"Queer story behind that," Trebek says, manipulating a broad bright cufflink to produce lines of reflected window-light on the ceiling's tile. "I got it about fourth-hand, but still. Parents abandoned the children, as kids. There was the girl and her brother, Lunt. Can you imagine a champion named Lunt? Lunt was autistic. Autistic to where this was like a mannequin of a kid instead of a kid. Muffy said Faye said the girl used to carry him around like a suitcase. Then finally he and the girl got abandoned out in the middle of nowhere somewhere. By the parents. Grisly. She got adopted and the brother was institutionalized. In a state institution. This hopelessly autistic kid, who it turns out he's got the whole LaPlace's Data Guide memorized. They were both forced to somehow memorize this thing, as kids. And I thought I had a rotten childhood, boy." Trebek shakes his head. "But he got put away, and the girl got adopted by some people in La Jolla who were not, from the sense I get, princes among men. She ran away. She got on the show. She kicked ass. She was fair and a good sport and took no crapola. She used her prize money to pay these staggering bills for Lunt's autism. Moved him to a private hospital in the desert that was supposed to specialize in sort of… yanking people outside themselves. Into the world." Trebek clears his throat.

"And I guess they yanked him OK," he says, "at least to where he could talk. Though he still hides his head under his arm whenever things get tense. Plus he's weird-looking. And but he comes and bumps her off with this torrent of zoology data." Trebek plays with the cufflink. "And she's gone."

"You said in our last hour together that you thought you loved her."

"She's a lesbian," Trebek says wearily. "She's a lesbian through and through. I think she's one of those political lesbians. You know the kind? The kind with the anger? She looks at men like they're unsightly stains on the air. Plus she's involved with our ditz of a head researcher, which if you don't think the F.C.C. took a dim view of that little liaison you've got another. . "

"Free-associate," orders the doctor.

"Image association?"

"I have no problem with that."

"I invited the girl for coffee, or a Tab, years ago, right at the start, in the commissary, and she gave me this haunting, moisture-inducing look. Then tells me she could never imbibe caffeine with a man who wore a digital watch. The hell she says. She gave me the finger on national television. She's practically got a crewcut. Sometimes she looks like a vampire. Once, in the contestant booth— the contestant booth is where we keep all the contestants for all the slots — once one of the lights in the booth was flickering, they're fluorescent lights — and she said to get her the hell out of that booth, that flickering fluorescence made her feel like she was in a nightmare. And there was a sort of nightmary quality to that light, I remember. It was like there was a pulse in the neon. Like blood. Everybody in the booth got nervous." Trebek strokes his mustache. "Odd girl. Something odd about her. When she smiled things got bright, too focused. It took the fun out of it, somehow.

"I love her, I think," Trebek says. "She has a way with a piece of data. To see her with an answer… Is there such a thing as an intellectual caress? I think of us together: seas part, stars shine spotlights…"

"And this researcher she's involved with?"

"Nice enough girl. A thick, friendly girl. Not fantastically bright. A little emotional. Has this adoration-versus-loathing thing with her mother." Trebek ponders. "My opinion: Faye is the sort of girl who's constantly surfing on her emotions. You know? Not really in control of where they take her, but not quite ever wiping out, yet, either. A psychic surfer. But scary-looking, for so young. These black, bulging, buggy eyes. Perfectly round and black. Impressive breasts, though."


"Faye's mother is one very tense production exec. Spends far too much time obsessing about not obsessing about the fact that our director is her ex-husband's wife."

"A woman?"

"Janet Lerner Goddard. Worst director I've ever worked with. Dee hates her. Janet likes to play with Dee's head; it's a head that admittedly tends to be full of gin. Janet likes to put little trinkety reminders of Dee's ex in Dee's mailbox at the office. Old bills, tie clips. She plays with Dee's mind. Dee's obsessing herself into stasis. She's barely able to even function at work anymore."

"Image associated with this person?"

"You know those ultra-modern rifles, where the mechanisms of aiming far outnumber those of firing? Dee's like that. God am I worried about potentially ever being like that."

The psychiatrist thinks they have done all they can for today. He shows Trebek the door.

"I also really like the word bedizen," Trebek says.

In those first fall weeks of 1985, a public that grows with each Nielsen sweep discerns only two areas of even potential competitive vulnerability in Ms. Julie Smith of Los Angeles. One has to do with animals. Julie is simply unable to respond to clues about animals. In her fourth slot, categories in Double Jeopardy include Marsupials and Zoological Songs, and an eidetic pharmacist from Westwood pushes Julie all the way to Final Jeopardy before she crushes him with a bold bet on Eva Braun's shoe size.

In her fifth slot (and what is, according to the game's publicized rules, to be her last — if a winner, she'll be retired as a five-time champion), Julie goes up against a spectacularly fat Berkeley mailman who claims to be a co-founder of the California chapter of MENSA. The third contestant is a neurasthenic (but gorgeous— Alex keeps straightening his tie) Fullerton stenographer who wipes her lips compulsively on the sleeve of her blouse. The stenographer quickly accumulates a negative score, and becomes hysterically anxious during the second commercial break, convinced by the skunked, vengeful, and whispering mailman that she will have to pay "JEOPARDY!" the nine hundred dollars she's down before they will let her leave the set. Faye dashes out during Off-Air; the woman cannot seem to be reassured. She keeps looking wildly at the exits as Faye runs off-stage and the red lights light.

A bell initiates Double Jeopardy. Julie, refusing to meet the audience's eye, begins pausing a bit before she reponds to Alex.

She leaves openings. Only the mailman capitalizes. Julie stays ahead of him. Faye watches the stenographer, who is clearly keeping it together only through enormous exercise of will. The mailman closes on Julie. Julie assumes a look of distaste and runs the board for several minutes, down to the very last answer, Ancient Rome For A Thousand: author of De Oratore who was executed by Octavian in 43 B.C. Julie's finger hovers over the buzzer; she looks to the stenographer. The mailman's eyes are closed in data-search. The stenographer's head snaps up. She looks wildly at Julie and buzzes in with Who is Tully. There is a silence. Trebek looks at his index card. He shakes his head. The stenographer goes to — $1,900 and seems to suffer something resembling a petit mal seizure.

Faye watches Julie Smith buzz in now and whisper into her mike that, though Alex was doubtless looking for the question Who is Cicero, in point of fact one Marcus Tullius Cicero, 106—43 B.C., was known variously as both Cicero and Tully. Just as Augustus's less-common appellation is Octavian, she points out, indicating the card in the host's hand. Trebek looks at the card. Faye flies to the Resource Room. The verdict takes only seconds. The stenographer gets the credit and the cash. Out of the emotional red, she hugs Julie on-camera. The mailman fingers his lapels. Julie smiles a really magnificent smile. Alex, generally moved, declaims briefly on the spirit of good clean competition he's proud to have witnessed here today. Final Jeopardy sees Julie effect the utter annihilation of the mailman, who is under the impression that the first literature in India was written by Kipling. The slot pulls down a sixty-five share. Hardly anyone notices Julie's and the stenographer's exchange of phone numbers as the bongos play. Faye gets a tongue-lashing from Muffy deMott on the inestimable importance of researching all possible questions to a given answer. The shot of Julie buzzing in with the correction makes the "Newsmakers" column of Newsweek.