By the time she arrives downstairs, people are lining the hall, smoking and talking with one another. Usually by this time in the day the place smells of sweat and dirt, but tonight the air’s scented with perfume, beards have been trimmed and faces scrubbed. The living room shades are drawn, leaving the space patched with a darkness that would be hell to film. In the corner, the television sits unplugged, looking sad that no one’s watching it. Somebody has turned on the record player, and she can hear Joni Mitchell above the layers of conversation, singing about pieces of paper from the city hall. It seems just what Fletcher has envisioned, yet as Maggie pours herself a glass of lemonade from a pitcher on the coffee table, the fragments of speech she overhears make it doubtful the night will produce new residents as he hopes. They all seem to be talking about the election, going over the day’s Olympics results, or speculating about an amnesty for draft dodgers. From the dining room comes a high-pitched voice appealing for a ride across the border.
Passing through the kitchen to the mud room and onto the lawn, she finds the sun vanished. September has brought cooler weather, and most of the people outside are dressed in sweaters or jackets, seeming more adult, less profligate than before. Fletcher, overseeing the barbecue pit with Karl and Lambchop next to him, is the only one with bare arms. He grimaces in response to something Lambchop says, and when serving a hot dog to a little boy, he doesn’t even smile. It’s a shame for him to be unhappy, especially when the party was his idea. It must be Karl and Lambchop’s fault, whatever they’re laying on him. When Karl sees her heading their way, she could swear he elbows Lambchop and whispers something. Promptly the two of them sidle into darkness.
“Shouldn’t you be filming?” Fletcher asks as she draws near. The question grates on her. Why should he assume shooting movies is always what she wants to do? She doesn’t like his wilful innocence either, as if there isn’t a history between them with the camera now.
“What were you talking about with those two?” she asks.
“Nothing much.” The way he says it makes her worry, and she waits for more. “They just wanted to know how long we’re staying here.” He seems embarrassed by her puzzlement. “They’ve been talking to my father,” he adds with some reluctance. It takes a moment before it clicks.
“He sent them to talk you into coming home, didn’t he?”
Fletcher says of course not, but she’s having none of it. Then she remembers the film and checks her watch. Already another twenty minutes have elapsed. Telling Fletcher they’ll talk more about it, she hurries back inside. Upstairs, people are filing from the playroom.
“Wait, there’s more!” she exclaims, rushing to the projector and fumbling with the reels. Most of the chairs are still occupied, the audience content to chat during the intermission. A few more people whom she caught at the door return to positions along the wall.
The next reel begins with footage from her time-lapse experiments. The audience seems enthralled, and Maggie can’t help but be glad. She’d love to film their faces now, their preoccupation with the screen. She should go back to Fletcher, but she stays to watch a little longer, worried he’ll only impart bad news: that they’ve run out of money for good, or that his father has made a final decision to sell the farm. If he told her that, she’s not sure what she’d do. All she knows is she couldn’t leave now. It isn’t because of the people or the work they’ve done on the house. It isn’t because of some political principle. Foolishly and simply, she realizes, it’s because of the film. After all the energy and time she’s put into capturing the place, framing and editing it into shape, she can’t imagine bidding it farewell.
The room continues to fill, people entering loudly but growing quiet as they’re arrested by the images on the wall. They doff hats, stifle coughs, settle into seats. Rhea’s there in the front row with her boys, waiting for the ritual glimpse of their lost cat. George Ray is there too, his orange toque for once left behind, and she’s pleased that finally he’s watching something she has filmed.
Then Maggie sees the girl from next door, Lydia, standing by herself at the back. She seems bony and prepubescent in her slip of a dress. Dimitri can’t have invited her; he wouldn’t be so stupid. Is she here to cause trouble? Their eyes lock briefly, and Lydia’s expression reveals nothing. Maggie wonders if the girl knows that Dimitri’s wife and children are sitting a few feet from her. She seems less sure of herself than the other times Maggie has encountered her, slouching and straightening against the wall by turns, tugging her dress down over her knees.
Maggie considers confronting her, but then she notices the woman near the projector. Her features are so pale as to be ghostly; only a dark mole on her chin anchors her to the world. Something about her is familiar, and Maggie stares at her until she realizes who it is: the woman from the church. The priest’s sister, Lenka. Her beehive has been let down so that her hair flows over her shoulders, but it’s her.
The priest could be here too, then, maybe in this room. Wale must have invited him at the grocery store. When the reel comes to an end, Maggie sets to work changing it, conscious of her proximity to the woman. The beam from the projector cuts through the smoky air like a solid thing Maggie could reach out and touch.
“Margaret Dunne,” says a voice, the accent unmistakable. A jolt goes through her. How does Lenka know her name?
“Actually, it’s Maggie,” she replies without looking up.
“Maggie.” Lenka pronounces the name awkwardly but with a hint of enjoyment at its intimacy.
“Did your brother come too?” Maggie asks, and Lenka nods. “I didn’t think this would be his kind of scene.”
“Josef is here because he wants me to come,” says Lenka. “We are still new to country, and is quiet in rectory all day. Priest’s sister, she meet people easy, but is hard to make friends. You go to house for dinner and people are—what is expression?” Maggie shrugs, but Lenka finds it. “On best behaviour!” She lifts the wineglass in her hand, whether to toast her own vocabulary or the hospitality of local parishioners, it isn’t clear. With stern, drunken eyes she looks at Maggie. “Josef says you do not like talking of father. Fine, relax, I do not talk of him.” Maggie flicks the switch on the projector while Lenka takes a mouthful from her glass, then tips down the dregs. “Come to Mass, do not come. It doesn’t matter to me. But church is trustworthy, Maggie, in way you cannot trust people.” She pauses, frowning. “I do not speak properly for making friends. Pardon me, please. I drink too much tonight.”
Maggie says it’s all right and excuses herself, not knowing where she’s headed. The house has grown hot with bodies and makes her dizzy; for a moment, going down the stairs, she worries she’ll be sick. On the ground floor a current of cool air steals along the hall, carrying Fletcher’s voice from the porch as he holds forth about Sargent Shriver. Tonight she has no stomach for Sargent Shriver.
In the kitchen, she glimpses Wale just about to slip through the back door. When she calls out to him, people at the table look up, hearing the edge in her voice. He turns and she sees his beard is gone. She has always thought that men who shave their beards regain a measure of their youth, but Wale seems older than before.
“You invited the priest, didn’t you?” she says as she crosses the room, speaking loudly enough that conversation around the table halts. Wale doesn’t become defensive, though. Instead, he gazes at her with something like fondness.
“Maggie, where’s your camera?” He’s wild-eyed, but she doesn’t think he’s drunk; maybe some other drug. “My kingdom for a camera! United States of a Camera. Ha!” He begins to sing out of tune. “O Camera, we stand on guard for thee …” Abruptly he breaks off and speaks in a stage whisper. “You should see the way you look now. The light on your face. Really lovely.” Without warning, he leans in as if to kiss her, and she ducks away. There’s a titter from someone at the table. “You know, I didn’t come up here for Brid,” he tells her.