"Now then, tell me, my baby. What is it? What's wrong?"

The scene in question called for the dean of the mythical college in the script to address a gathering of students in an effort to squelch a threatened "sit-in." Chris would then run up the steps to the esplanade, tear the bullhorn away from the dean and then point to the main administration building and shout, "Let's tear it down!" "It just doesn't make sense," said Chris.

"Well, it's perfectly plain," lied Dennings.

"Why the heck should they tear down the building, Burke? What for?"

"Are you sending me up?"

"No, I'm asking 'what for?' "

"Because it's there, loves!"

"In the script?"

"No, on the grounds!"

"Well, it doesn't make sense, Burke. She just wouldn't do that."

"She would."

"No, she wouldn't."

"Shall we summon the writer? I believe he's in Paris!"

"Hiding?"

"Fucking!"

He'd clipped it off with impeccable diction, fox eyes glinting in a face like dough as the word rose crisp to Gothic spires. Chris fell weak to his shoulders, laughing. "Oh, Burke, you're impossible, dammit!"

"Yes." He said it like Caesar modestly confirming reports of his triple rejection of the crown.

"Now then, shall we get on with it?"

Chris didn't hear. She'd darted a furtive, embarrassed glance to a nearby Jesuit, checking to see if he'd heard the obscenity. Dark, rugged face. Like a boxer's. Chipped. In his forties.

Something sad about the eyes; something pained; and yet warm and reassuring as they fastened on hers. He'd heard. He was smiling. He glanced at his watch and moved away.

"I say, shall we get on with it!"

She turned, disconnected. "Yeah, sure, Burke, let's do it."

"Thank heaven."

"No, wait!"

"Oh, good Christ!"

She complained about the tag of the scene.. She felt that the high point was reached with her line as opposed to her running through the door of the building immediately afterward.

"It adds nothing," said Chris. "It's dumb."

"Yes, it is, love, it is," agreed Burke sincerely. "However, the cutter insists that we do it," he continued, "so there we are. You see?"

"No, I don't."

"No, of course not. It's stupid. You see, since the following scene"--- he giggled--- "begins with Jed coming at us through a door, the cutter feels certain of a nomination if the scene preceding ends with you moving off through a door."

"That's dumb."

"Well, of course it is! It's vomit! It's simply cunting puking mad! Now then, why don't we shoot it and trust me to snip it from the final cut. It should make a rather tasty munch."

Chris laughed. And agreed. Burke glanced toward the cutter, who was known to be a temperamental egotist given to time-wasting argumentation. He was busy with the cameraman.

The director breathed a sigh of relief.

Waiting on the lawn at the base of the steps while the lights were warming, Chris looked toward Dennings as he flung an obscenity at a hapless grip and then visibly glowed. He seemed to

revel in his eccentricity. Yet at a certain point in his drinking, Chris knew, he would suddenly explode into temper, and if it happened at three or four in the morning, he was likely to telephone people in power, and viciously abuse them over trifling provocations. Chris remembered a studio chief whose offense had consisted in remarking mildly at a screening that the cuffs of Dennings' shirt looked slightly frayed, prompting Dennings to awaken him at approximately 3 A.M. to describe him as a "cunting boor" whose father was "more that likely mad!" And on the following day, he would pretend to amnesia and subtly radiate with pleasure when those he'd offended described in detail what he had done. Although, if it suited him, he would remember. Chris thought with a smile of the night he'd destroyed his studio suite of offices in a gin-stoked, mindless rage, and how later, when confronted with an itemized bill and Polaroid photos detailing the damage, he'd archly dismissed them as "Obvious fakes, the damage was far, far worse than that!" Chris did not believe that Dennings was either an alcoholic or a hopeless problem drinker, but rather that he drank because it was expected of him: he was living up to his legend.

Ah, well, she thought; I guess it's a kind of immortality.

She turned, looking over her shoulder for the Jesuit who had smiled. He was walking in the distance, despondent, head lowered, a lone black cloud in search of the rain.

She had never liked priests. So assured. So secure. And yet this one...

"All ready, Chris?" Dennings.

"Yeah, ready."

"All right, absolute quiet!" The assistant director "Roll the film," ordered Burke.

"Speed."

"Now action!"

Chris ran up the steps while extras cheered and Dennings watched her, wondering what was on her mind. She'd given up the arguments far too quickly. He turned a significant look to the dialogue coach, who padded up to him dutifully and proffered his open script like an aging altar boy the missal to his priest at solemn Mass.

**********

They worked with intermittent sun. By four, the overcast of roiling clouds was thick in the sky, and the assistant director dismissed the company for the day.

Chris walked homeward. She was tired. At the corner of Thirty-sixth and O she signed an autograph for an aging Italian grocery clerk who had hailed her from the doorway of his shop.

She wrote her name and "Warm Best Wishes" on a brown paper bag. Waiting to cross, she glanced diagonally across the street to a Catholic church. Holy Something-or-other. Staffed by Jesuits. John F. Kennedy had married Jackie there, she had heard; had worshiped there. She tried to imagine it: John F. Kennedy among the votive lights and the pious, wrinkled women; John F. Kennedy bowed in prayer; I believe... a detente with the Russians; I believe, I believe...

Apollo IV among the rattlings of the beads; I believe... the resurrection and the life ever---