1 stand here on legs of fire!
The sound of sirens jerked Bruce out of his reverie. There were police cars on the TV now. The same footage of his home being surrounded by the forces of justice that had been playing endlessly all morning. There again was his garden, full of cops. His drive, full of cops. His roof, covered in cops. How many cops could swarm round one house? All the cops in Los Angeles, it seemed to Bruce. And TV people. TV people everywhere. In his flower beds, outside his four garages, milling round his pool.
Bruce wished they hadn’t put him in a room with a TV. He could switch it off, of course, but somehow he didn’t.
The news story arrived once more at the limousine jam. Slowly the stars and big shots got out of their enormous cars. Bruce had watched the same footage so often that he knew the order by heart. There they were again. The long, slow stream of tuxedos, polished chins, magnificent bosoms and ridiculous gowns. Absurd gowns. Ludicrous gowns. Every one of those women was like a drowning swimmer desperate to attract attention. I’m over here! Look at me!
There was the purple one now, slashed up to the armpits. Such thighs! Hollywood thighs. And nipples. Nipples like thimbles. ‘She’s just iced those in the car,’ Bruce had thought approvingly at the time. He always appreciated professionalism, an actress’s dedication to her craft.
Now it was the turn of Bruce himself; he always came after the purple one with the thighs and nipples. The cameras of the waiting paparazzi began to flash before his car had even stopped. He was the star of the show, the hot tip for ‘Best Director’ and ‘Best Picture’. What a night! What a moment! The star of the show.
Now it was the morning after and he was still the star, though of a rather different show. Whoever said all publicity was good publicity was an idiot.
The old Bruce stepped out of his limo and on to the red carpet, just as he had done twenty times already on every channel that morning. Turn, smile and wave. Check the bowtie. Tug at the earlobe. Nervous, humble body language. Tiny little moves that screamed, ‘Love me, you bastards! Look! Look! This is my night. I am the greatest director in the world, and yet I have the grace to pretend I’m just an ordinary guy.’ Bruce knew every ingratiating little twitch by heart. How they cheered. How they loved him.
Except that they didn’t really love him, any more than he believed he was a regular, ordinary guy. Everyone was just acting in the manner expected of them at such an event. Television has taught the whole world how to behave. Except, of course, for the protestors: prophets as they now appeared to be, illuminated by the deceptive light of hindsight.
The pickets. Mothers Against Death. Wouldn’t they be pleased this morning. ‘Mr Delamitri,’ shouted the anonymous woman who had now become a TV star, ‘my son was murdered. An innocent boy, gunned down on the streets. In your last picture there were seventeen murders.’
Bruce sat in the small, bare police interview room and watched his past self, thinking, ‘Yeah, and there was plenty of sex in my movie too, but I bet you haven’t had any for a while.’
That was what he had been thinking. Why hadn’t he said it? He couldn’t suppress the uneasy feeling that things would have been different if he had told the truth. It was completely irrational, of course, but ever since the police had left him alone he had been tortured by the thought that somehow honesty might have saved him from the terrible fate that had overtaken him.
‘I stand here on legs of fire.’ Jesus! Legs of fire? Just for that, he almost deserved what had happened to him.
He couldn’t have been honest, of course, particularly not to that picket line. Not in his old life. He’d had different priorities then. It was one thing haranguing Oliver and Dale about the absurdity of blaming a filmmaker for some murder that had happened in a place he’d never been to, and quite another to do it to the anguished relatives. It would have been the most terrible thing he could have done. Imagine the headlines: ‘Bruce Delamitri Insults Bereaved Mothers’. It would have been the numberone story from the ceremony, a terrible, terrible scandal. Bruce found himself actually laughing at the thought. As if he’d care now. Funny how one’s sense of proportion changes when the cops have been swarming all over your lawn and a SWAT team has smashed its way through your roof.
Bruce muted the TV. He knew by heart what the anchors were saying. What else could they say? This had to be the most spectacular reversal of fortunes they had ever had the ghoulish pleasure of reporting. The catastrophe that had overtaken Bruce had (in his opinion, anyway) the stature of a Greek tragedy – with, he was forced to reflect, all its attendant ironies.
Hubris, pride, comes before a fall. When a person is so big, so bold, so beautiful, that they come to believe that the rules that govern others no longer apply to them, that’s when fate sticks the boot in, and you can’t get any bigger, bolder or more beautiful than winning the ‘Best Director’ Oscar.
Bruce’s house was back on the screen. No cops now: it was the ‘before’ shot, serene, tranquil, to make it absolutely clear to morning America just what Bruce had lost. A gorgeous piece of footage from a video guide to the homes of Hollywood ’s elite. He remembered the helicopter coming over taking the shots and what an outrageous invasion of privacy he had thought it. Again, proportion. He was a man for whom the notion of privacy no longer existed. He was public property. His lawn was on the TV and there were cops all over it. Every news agency in the world owned him. They could fly a helicopter up his backside and say it was in the public interest. Bruce stared at the beautiful home where his life used to be. He glanced around the bare room where he now sat.
What a journey he had made.
In twentyfour hours.
For the manacled young woman in the adjoining interview room her current surroundings were something of a step up. There were no cockroaches in the room, no fleabitten dogs poking around trying to get at the food. There were no abandoned cars and no burstopen plastic sack of garbage with rats fossicking about in them. This young woman did not hail from a mansion in the Hollywood hills. Her home was a beatup RV in a trailer park in Texas. She, too, had come a long way.
But her surroundings left her completely unmoved. She didn’t care. She didn’t care about the cops and she didn’t care about Bruce. She didn’t care where she came from or where she had ended up. Wherever it was, she’d rather be dead. He was gone and she was alone. She’d known him such a short time and now it was all over and she was alone.
Chapter Four
‘All I said was that it’s like trying to find a needle in a haystack.’
If it hadn’t been so serious, a casual observer might have laughed: the almost Gothic nature of the scene was in such stark contrast to the banal conversation that accompanied it.
It was early afternoon on the day of the Oscars, and the captives were being held in a dark and dingy cellar. Toni, a woman in her early twenties, lay on her back across a table, her ankles and wrists chained to its legs. Her boyfriend, Bob, hung from a chain on the wall. His clothes had been cut away, and he looked rather sad dangling there in the tatters of what had once been an Italian suit.
The man who had made the remark about haystacks was called Errol. He and his companion, who answered only to the title of Mr Snuff, were gangsters. They carried enormous pistols wedged under their arms, which must have been very uncomfortable, and their conversation was continually punctuated with the word ‘motherfucker’. Errol and Mr Snuff were of the opinion that Bob was holding out on them in the matter of some missing drugs. Bob denied the suggestion, of course, and a search had been conducted, unsuccessfully, prompting Errol to draw the ageold comparison with the needle in the haystack.