It was, of course, because I believed he’d somehow done the same sort of thing as Dawn, that somewhere there existed photos of him in some unimaginable other person. But it would sound like an insult to say that, and I said nothing, floundering around for an alternate answer.
He nodded. “You’re right,” he said.
“Then how?” I asked him. “She decided to be somebody else. How is it possible to do that?”
He shrugged and grinned, friendly and amiable but not really able to describe colors to a blind man. “You find somebody you’d rather be,” he said. “It really is as simple as that, Orry.”
I knew he was wrong. There was truth in the idea that people like Dawn and himself had found somebody else they’d rather be, but it surely couldn’t be as simple as that. Everybody has fantasies, but not everybody throws away the real self and lives in the fantasy.
Still, it would have been both rude and useless to press him, so I said, “Thank you,” and got out of the car.
“Hold the door,” he said. Then he patted the front seat, as though calling a dog, and said, “Dennis, come on up.” And Dennis, a nervous high-bred afghan hound in his fawn-colored jumpsuit, clambered gratefully into the front seat.
I was about to shut the door when Rod leaned over Dennis and said, “One more little piece of advice, Orry.”
“Yes?”
“Don’t ask Dawn that question.”
“Oh,” I said.
The picture was gone from the front hallway. My luggage from the motel was in my room, and Dawn was naked in the pool, her slender long intricate body golden-green in the underwater lights. I opened the drapes and stepped out to the tepid California air and said, “Shall I join you in there?”
“Hey, baby,” she called, treading water, grinning at me, sunny and untroubled. “Come on in, the water’s fine.”
Five
The rest of the days that week were all the same, except that no more unfortunate presents came from Byron Cartwright. Dawn and I got up early every morning, flew to Stockton, she worked in the movie and napped — alone — after lunch, we flew back to Los Angeles, and then there’d be dinner in a restaurant with several other people, a shifting cast that usually included Rod and Wally and Dennis, plus others, sometimes strangers and sometimes known to me. Then Dawn and I would go back to the house and swim and go to bed and play with one another’s bodies until we slept. The sex was wonderful, and endlessly various, but afterwards it never seemed real. I would look at Dawn during the daytime, and I would remember this or that specific thing we had done together the night before, and it wasn’t as though I’d actually done it with her. It was more as though I’d dreamed it, or fantasized it.
Maybe that was partly because we always slept in the guest room, in what had become my bed. Dawn never took me to her own bed, or even brought me into her private bedroom. Until the second week I was there, I was never actually in that wing of the house.
On the Thursday evening we stayed longer in Stockton, to see the film shot the day before. Movie companies when they’re filming generally show the previous day’s work every evening, which some people call the dailies and some call the rushes. Its purpose is to give the director and performers and other people involved a chance to see how they’re doing, and also so the film editor and director can begin discussing the way the pieces of film will be organized together to make the movie. Dawn normally stayed away from the rushes, but on Thursday evening they would be viewing the sequence that she and Rod had argued about with Harvey, so the whole group of us stayed and watched.
I suppose movie people get so they can tell from the rushes whether things are working right or not, but when I look at half a dozen strips of film each recording the same action sequence or lines of dialogue, over and over and over, all I get is bored. Nevertheless, I could sense when the lights came up in the screening room that almost everybody now believed Harvey to have been right all along. Rod wouldn’t come right out and admit it, but it was clear his objections were no longer important to him. Dawn, on the other hand, had some sort of emotional commitment to her position, and all she had to say afterwards was, grumpily, “Well, I suppose the picture will survive, despite that.” And off she stomped, me in her wake.
Still, by the time we reached the plane to go back to Los Angeles, she was in a cheerful mood again. Bad temper never lasted long with her.
Friday afternoon there were technical problems of some sort, delaying the shooting, so after Dawn’s nap she and I sat in the parlor of her dressing room and talked together about the past. It was one of those conversations full of sentences beginning, “Do you remember when—?” We talked about troubles we’d had with the landlord, about the time we snuck into a movie theater when we didn’t have any money, things like that. She didn’t seem to have any particular attitude about these memories, neither nostalgia nor revulsion; they were simply interesting anecdotes out of our shared history.
But they led me finally, despite Rod’s advice, to ask her the question that had brought me out here. “You’ve changed an awful lot since then,” I said. “How did you do that?”
She frowned at me, apparently not understanding. “What do you mean, changed?”
“Changed. Different. Somebody else.”
“I’m not somebody else,” she said. Now she looked and sounded annoyed, as though somebody were pestering her with stupidities. “I dyed my hair, that’s all. I learned about makeup, I learned how to dress.”
“Personality,” I said. “Emotions. Everything about you is different.”
“It is not.” Her annoyance was making her almost petulant. “People change when they grow older, that’s all. It’s been sixteen years, Orry.”
“I’m still the same.”
“Yes, you are,” she said. “You still plod along with those flat feet of yours.”
“I suppose I do,” I said.
Abruptly she shifted, shaking her head and softening her expression and saying, “I’m sorry, Orry, you didn’t deserve that. You’re right, you are the same man. You were wonderful then, and you’re wonderful now.”
“I think the flat feet was more like the truth,” I said, because that is what I think.
But she shook her head, saying, “No. I loved living with you, Orry, I loved being your wife. That was the first time in my life I ever relaxed. You know what you taught me?”
“Taught you?”
“That I didn’t have to just run all the time, in a panic. That I could slow down, and look around.”
I wanted to ask her if that was when she realized she could become somebody else, but I understood by now that Rod had been right, it wasn’t something I could ask her directly, so I changed the subject. But I remembered what the magazine article had said about me being a “stock figure, the San Diego sailor in every sex star’s childhood,” and I wondered if what Dawn had just said was really true, if being with me had in some way started the change that turned Estelle Anlic into Dawn Devayne. Plodding with my flat feet? Most of the Estelle Anlics in the world marry flat-footed Orry Tupikoses; what had been different with us?
Saturday we drove to Palm Springs, to the home of a famous comedian named Lennie Hacker, for a party. There were about two hundred people there, many of them famous, and maybe thirty of them staying on as house guests for the rest of the weekend. Lennie Hacker had his own movie theater on his land, and we all watched one of his movies plus some silent comedies. That was in the afternoon. In the evening, different guests who were professional entertainers performed, singing, dancing, playing the piano, telling jokes. It was too big a party for anybody to notice one face more or less, so I didn’t have to explain myself to anybody. (There was only one bad moment, at the beginning, when I was introduced to the host. Lennie Hacker was a short round man with sparkly black eyes and a built-in grin on his face, and when he shook my hand he said, “Hiya, sailor.” I thought that was meant to be some kind of insult joke, but later on I heard him say the same thing to different other people, so it was just a way he had of saying hello.)