"I don't know. Maybe." Then, "Probably."
"I think she wants you to."
When he was alone, he poured a scotch, sat on the sofa and turned on the table lamp. The brightness of the bulb stung his eyes. He stared at his daughter's screenplay, the image of the lightbulb scorching the cover. As the image receded it looked for all the world like a sinister smiley face staring back at him. It dared him to pick up the script. He took the dare and muttered, "Fucking wrecking ball."
He'd never read a screenplay before. Its shiny brass brads reminded him of the last time he'd laid eyes on one, a month earlier at Mark Shackleton's house. He turned the cover page and waded in-the format confused him with all the interior/exterior jazz.
After a few pages he had to start over, but then he got into the swing of it. Apparently, the character he inspired was named Jack, a man whose sparse description seemed to fit him to a tee: a brawny man in his forties, a sandy-haired product of the South with an easy manner and a hard edge.
Unsurprisingly, Jack was a high-functioning alcoholic and womanizer. He was in a new relationship with Marie, a sculptress who knew better than to let a man like him into her life but was powerless to resist him. Jack, it seemed, had left a trail of women in his wake, and-painfully to Will-one of them was a daughter, a young woman named Vicki. Jack was haunted by flashbacks of Amelia, an emotionally frail woman whom he had beaten to a metaphysical pulp before she set herself free with vodka and carbon monoxide. Amelia-a thinly veiled homage to Melanie, Will's first wife and Laura's mother-was a woman who found the waters of life too difficult and complicated to navigate. Throughout the script, she appeared to him, cherry red from the poison, rebuking him about his cruelty to Marie.
Midway through the script, Will found himself too sober to continue, so he poured a fresh three fingers. He waited for the drink to anesthetize him then carried on till the bitter end, to Marie's suicide, witnessed by the sobbing presence of Amelia, and to Vicki's redemptive decision to leave her own abusive relationship and choose a kinder, though less passionate man. And Jack? He moved on to Sarah, Marie's cousin, who he met at her funeral, the wrecking ball still swinging away.
When he put the script down, he wondered why he wasn't crying.
So this was how his daughter saw him. Was he that grotesque?
He thought about his ex-wives, multiple girlfriends, the conga line of one-nighters, and now Nancy. Most of them pretty nice gals. He thought about his daughter, a good egg tainted by the sulfurous bad-egg smell of her father. He thought about-
Suddenly, his introspection braked to a screeching halt. He grabbed at the script and opened it to a random page.
"Son of a bitch!"
The screenplay font.
It was Courier 12 point, the same as the Doomsday postcards.
He had forgotten his initial puzzlement at the postcard font, an old standby from the days of typewriters but a more uncommon choice in the computer/printer age. Times New Roman, Garamond, Arial, Helvetica-these were the new standards in the world of pull-down menus.
He jumped onto the Internet and had his answer. Courier 12 was the mandatory font for screenplays, completely de rigueur. If you submitted a script to a producer in another format you'd be laughed out of town. Another tidbit: it was also widely used by computer programmers to write source code.
A mental vision slammed into his thoughts. A couple of screenplays authored by "Peter Benedict" and a few black Pentel pens sat on a white desk near a bookcase filled with computer programming books. Mark Shackleton's voice-over completed the imagery: "I don't think you're going to catch the guy."
He spent a short while contemplating the associations, odd as they were, before dismissing as absurd the notion there might be a connection between the Doomsday case and his college roommate. Schackleton, the grown-up nerd, running around New York, stabbing, shooting, sowing mayhem! Please!
Still, the postcard font was an unplumbed clue-he strongly felt it now-and he knew that to ignore one of his hunches would be foolhardy, especially when otherwise they were at a complete dead end.
He grabbed his cell phone and excitedly texted Nancy: U and I are going to be reading scripts. Doomie may be a screenwriter.
JULY 28, 2009
S he felt the smooth, cool fourteen-carat links of the wrist-band and ran her fingertip over the rough border of diamonds around the narrow rectangular watch face.
"I like this one," she murmured.
"Excellent choice, madame," the jeweler said. "This Harry Winston is a popular choice. It's called the 'Avenue Lady.'"
The name made her laugh. "Hear what it's called?" she asked her companion.
"Yep."
"Isn't that perfect!"
"How much?" he asked.
The jeweler looked him in the eye. If the man had been Japanese or Korean or an Arab, he'd have known the sale was in the bag. As it was, Americans in khakis and baseball caps were a tough call. "I can sell it to sir today for $24,000."
Her eyes widened. This was the most expensive one. Still, she loved it, and let him know by nervously touching the bare skin of his forearm.
"We'll take it," he said without hesitation.
"Very good, sir. How would sir like to pay?"
"Just put it on my room. We're staying in the Piazza Suite."
The jeweler would have to pop into the back room to confirm the sale but he was feeling solid. The suite was one of their best, fourteen-hundred square feet of marble and opulence, with a spa and sunken living room.
She was wearing the watch when they left the shop. The sky over St. Mark's Square was perfectly baby blue with just the right assortment of fluffy cumulus clouds. A gondola ferrying a rigid, unsmiling Swiss couple glided by. The gondolier launched into song to stir up some emotion in his charges, and his rich voice echoed off the dome. Everything was perfect, her companion thought. The non-Mediterranean temperature, the absence of brackish smells from real canals, and no pigeons. He hated the dirty birds ever since his parents had taken him to the authentic St. Mark's Square as a shy and sensitive boy and a tourist lobbed a handful of bread crumbs near his feet. The pigeon swarm nightmarishly overwhelmed him, and even as an adult he recoiled when he saw flapping wings.
She was wearing the watch as they strolled arm in arm through the lobby of the Venetian Hotel.
She was wearing the watch in the elevator, cocking her hand at an angle to catch the attention of the three ladies riding with them.
And she was wearing the watch and nothing else up in the suite when she gave him the best sex he'd ever had.
He let her call him Mark now, and instead of Lydia, she let him use her real name, Kerry. Kerry Hightower.
She was from Nitro, West Virginia, a river town founded at the turn of the century around a gunpowder plant. It was a gritty place notable for little except that Clark Gable once worked there as a telephone repairman. Growing up poor, she watched old Clark Gable movies and dreamed of becoming a Hollywood actress.
In junior high she discovered her acting skills were not abundant but she doggedly tried out for every school play and community production, landing small supporting roles only because she was so earnest and attractive. But in high school she discovered a higher talent. She loved sex, was extremely good at it, and was completely and charmingly uninhibited. In a revelation, she settled on a new amalgamated calling: she decided she would become a porn star.
A fellow cheerleader, two years older, had moved to Las Vegas and was working as a card dealer. To Kerry, Vegas was nine-tenths on the way to California, where, as she understood it, the adult film business flourished. A week after graduation from Nitro High, she bought a one-way ticket to Nevada and moved in with her old chum. Life there wasn't easy, but her sunny disposition kept her afloat. She bopped around from one low-paying job to another until she landed, if not on her feet, on her back at an escort agency.