The Player (5 page)

On the Pasadena Freeway, Griffin rehearsed his meeting with David Kahane. He would offer his hand, they'd trade comments on the film, and then Griffin would say, “By the way, I'm really sorry I didn't get back to you. It was a good idea, but I'm afraid that Levison
is a little more conservative than he should be. Have you had any luck with it at another studio?” He would ask if David wanted to bring in any other ideas or show him a script he might be working on. He could invite David and June to a party, an afternoon barbecue where they could meet other executives and producers. If David was his guest, he knew, everyone at the party would assume he deserved to be there on the strength of something impressive he'd written, since he hadn't had anything produced. He would be invited to meetings. He even might be offered an assignment, sent a script that needed a rewrite, or receive an advance copy of a book, hand-delivered, for his comments. This would save him the struggle of pumping something from his imagination, depleted by too many bewildering meetings.

Griffin hoped David Kahane was smart about money, because he was going to start making lots of it. Griffin would tell his world, “This guy's okay.” He worried about how to start his conversation with Kahane. He would ask him if he lived in Pasadena; the question was so wrong, it would make Griffin seem harmless and innocent. He knew where David lived, he had a Hollywood phone number.

He parked on the street a block past the theater. The movie would be over in twenty minutes; he could stand in front of the theater and catch David Kahane on his way out, saving himself a few dollars. He felt the Writer looking over his shoulder, or over his conscience's shoulder, making a clucking noise, as if to say, “Don't cheat. You owe me whatever it costs.”

As he paid for the ticket, he wanted to tell the man in the booth that this was the first time he had spent money to see a movie in a few years, probably two years, since he had been stranded in Denver waiting for a plane and he'd had an afternoon to kill. This urge to tell such a pointless anecdote to a stranger embarrassed him so much that he went straight into the theater, skipping the refreshment stand,
even though he wanted popcorn. He was hungry. He took a seat in the middle of the back row, between the two doors. He hoped this wasn't one of those theaters where the lights don't go up when the movie is over, because David Kahane, if he was sitting toward the front, could just as easily leave through one of the exits near the screen, and then Griffin might miss him.

Rome. The 1950s. Griffin watched a father and son on a search for the lost bicycle. Knowing the title, it was obvious that someone had stolen the bike, that this poor man needed it, and that he and his son were now, since the movie was almost over, close to finding the bike and the person who had stolen it. It's a good title, thought Griffin. He liked a movie where the story and the title were the same thing. The father was accusing a man of the theft. Griffin assumed that the father had tracked the man down, that this really was the thief. Here was the danger, though: Everyone in the neighborhood rallied to the thief's defense. They were poor people, perhaps it was a neighborhood of thieves. But, of course, this had to be the thief, it was just too late in the film for a mistaken identity. You'd only do that in the second act, follow a wrong lead. The neighbors, the thief, and even the thief's mother forced the father to back down, after his son ran for a policeman. The policeman arrived but wouldn't arrest the thief. There was no evidence. The father goes with the thief's mother to search the apartment. The point of the scene is to show that everyone is poor, that everyone has a story of misery. The father and son wander around, lost, come to a stadium. There's some kind of game inside—soccer, probably. There are thousands of bicycles parked outside, and then the father sees one bike, alone, on a quiet street. He gives his son bus money and
tells him to go away, then he steals the bike. The son does not go away. He sees his father steal the bike. The father is slow, and he's chased and caught. The father and son are let go by the bike's owner, who doesn't want to press charges, because he can see from the situation that the father was desperate. The father and son continue walking and crying.

Griffin was shocked when
THE END
flashed on the screen. They didn't get the bike. They would never get the bike. The ending was sad. It was so unnecessarily sad, too, because the father had suffered enough; having seen the bicycle thief's apartment, he had reached the point where he could forgive, and instead, he was being forgiven. The father was the Bicycle Thief. Was there a sequel?

The lights came up. Griffin worried how he was going to recognize someone who had bored him for twenty minutes five months before. It was too late to pray for a sign. He watched both rows. A woman passed him and looked at him as though she knew him, or knew who he was. She looked vaguely familiar to him, too, then he remembered. She had introduced him to a production class at the American Film Institute. She caught up with another woman, and he saw her lean into her friend and say something. She tipped her head back toward Griffin. They disappeared into the lobby. The friend returned and walked halfway down the aisle, then looked up toward the projection booth, making a show of searching the room for someone, when all she wanted was a look at Griffin. She got it and walked back out. Behind her was David Kahane.

Griffin supposed Kahane was scowling so hard because he was mad at Hollywood. Griffin stayed in his seat and looked across the aisle, as though he were studying the old plasterwork of the theater. Kahane was about thirty, with the sort of sharp, angular face and straight, thick hair Griffin associated with graduate students. Maybe it was just the wire-framed glasses and the plaid shirt. Griffin was
ready to look surprised and happy when Kahane saw him. The writer crossed Griffin's line of sight and went into the lobby. Griffin had prepared his face to say “Hello” or “Hey, how are you?” and there was no one to receive this expression, which soured and withdrew from the missed connection. He considered forgetting the whole idea. Besides, he wanted something to eat.

In the lobby, Kahane walked into the men's room. Griffin knew it would be ridiculous to meet him there. No one shakes hands in the men's room. Griffin leaned against the wall opposite the door and waited.

Kahane came out, drying his fingertips on his jeans. He saw Griffin poised to say hello and he ignored him. He continued out to the street. Griffin followed and called to him on the sidewalk.

“David? David Kahane?” He tried to sound as tentative as possible. Kahane turned. Griffin put his hand out and introduced himself.

“What's the matter,” said Kahane, “couldn't you get a screening of it?”

It was obnoxious, but he said it with a smile.

“I was feeling restless. I just wanted to sit in a regular movie theater. Same as you.”

“You're not thinking of doing an American remake of
The Bicycle Thief
are you?”

“You want to write it?”

“You'd give it a happy ending.”

“Listen, I don't think I ever got back to you on your idea. I'm sorry.” Griffin tried to be as casual about this as he could.

“I sort of got the message during the meeting. I dropped the idea, by the way. You were right. It would have made a good script, maybe even a good film with the right director, but it wouldn't have made any money.”

Griffin looked for a sign that Kahane was the postcard Writer. He felt that he would know the postcard Writer if he met him. Would the postcard Writer contain himself as well as Kahane? If Kahane was the postcard Writer, wouldn't he be trembling? Griffin asked his routine question, which came as automatically as “How are you?”

“What are you working on these days?”

“A few things.”

“I guess you're going home now?”

“Well, what do you have in mind, Mr. Mill?”

“Dinner?”

“I've eaten.”

“Let's let the studio buy us a beer?”

“How generous of them.”

Griffin saw that Kahane didn't care about him, didn't care that he remembered his broken promise, didn't care that Griffin was offering a bit of friendship. He was not behaving according to the plan. Griffin wanted this man to change his mind about him, to like him and trust him, but he knew that he was tripping over his insincerity. It must have been obvious to Kahane that the embarrassed studio executive was hiding an agenda. They walked down the street, looking for a bar. Kahane pointed to a Japanese bar, Club Hama.

“We'll go there,” said Kahane.

They crossed the street. The bar was crowded, at least fifty men, mostly Japanese, in suits. A Japanese woman sat at a piano surrounded by men. While she played, a man sitting a few seats away sang into a microphone on a cord. Stiff hostesses in slit dresses delivered drinks and chatted with the customers. Kahane looked relieved.

“It's exactly like this in Tokyo,” he said. The hostess came to them, and Kahane spoke to her in Japanese. Griffin felt an inferior sense of adventure. He hated it that this Writer had played a trick
on him. He was showing off. They were seated at a booth. The waitress took their order. Kahane had a long chat with her in Japanese. When she left, Kahane told Griffin that she was from Kyoto and wanted to go home.

“Have you been to Japan?” asked Kahane.

“No, actually.” Why actually?

“I lived there for a year. I was a foreign exchange student when I was in high school.”

“It must have been fun.”

“It was. I think about it all the time.”

“Have you written about it?”

“No, I told you. You were right, I decided it would have made a good script, but who would care?” No wonder Kahane hated Griffin. The hatred was deserved. He had pitched a story that came from his life, and Griffin had dismissed it. Griffin wanted to defend himself, if the story was so good, Kahane should have written it, anyway.

When the waitress brought the drinks, Griffin reached for his wallet for cash instead of a credit card, so Kahane wouldn't think he was generous only with the studio's money, but she wasn't asking for money yet. He fumbled with his wallet and hoped that Kahane hadn't noticed the awkward gesture. Kahane drank his beer and watched the room. Griffin couldn't tell if Kahane also knew that Griffin had forgotten the story. Was he thinking, Why did I let this stranger tell me my life's best moment wasn't worth writing about? Kahane turned to him.

“You called my home at seven o'clock. You couldn't have seen the whole movie. You came to the theater looking for me. I called home when I got to the theater. I thought I'd lost my briefcase, but it was in the car. I wanted to let my girlfriend know, so she'd stop looking for it. Why did you call? What are you doing here?”

“I'm apologizing.”

“For what? All your shitty movies?”

“I said I'd get back to you.”

“If I believed everyone in Hollywood who says that, I'd be crazy.”

He walked to the piano and said something to the pianist. She handed him the microphone. The men at the bar applauded, and he spoke to them in Japanese. They all shook hands, and then Kahane nodded to the happy pianist, who thought this was so wonderful. She started playing the theme song from
Goldfinger.
Kahane sang it in Japanese. Everyone in the club stopped drinking and talking and turned to watch. A few times he must have pronounced difficult words, because a few people clapped or laughed. Griffin wondered if Kahane was making fun of him, if he was really singing about him. Was everyone in the room being told to not stare at him, while the song continued to slander him? Kahane finished singing. The room exploded with applause, cheers, whistles. As Kahane bowed, arms were drawing him to tables, begging him to come and sit for a drink. He put five dollars in the large snifter by the pianist, who wanted to refuse, but he made her keep it. He bowed in Griffin's direction, without eye contact, and walked out. It took a minute for the room to forget him. One of the men at the piano took the microphone and started singing
From Russia With Love,
but everyone in the room groaned and he stopped. The pianist closed the keyboard and walked away. Someone turned on a tape, and now there was different music in the air.

Griffin imagined Kahane telling June Mercator about the evening. He might even tell a few of his friends. How far would the news of this aberration travel? He felt terribly sad, as though nothing in his life had ever gone right, as if he had never once won a prize. He had to remind himself of the prizes he did win.

Griffin studied the cartoon on his cocktail napkin. A woman with big breasts in bed with a bald-headed little man. He had disappointed
her somehow. The napkin was wet. Griffin separated the disastrously matched couple, the soaked paper tearing without resistance. Could it even be called paper anymore? Had it reverted to pulp?

He left the money on the table and walked quickly to the door. Outside, he calculated the damage that waited to smear his reputation once this Writer told on him. Best to deny. Deny it all, even the conversation with June Mercator. Would the phone log at the studio show his call? Why would anyone even bother to go so far? Relax, he told himself, there's paranoia and there's silliness. Who did Kahane know?

As he crossed to the shopping plaza where his car was parked, he saw Kahane in a Burger King across the street from the theater. Griffin turned away from his car, to give Kahane another chance. He felt a bit like a counselor at camp, seeking out the homesick kid, the one who won't make his bunk up in the morning, the one whose tears mystify the other children but whose unhappiness is accepted by the staff. Griffin didn't know what he was going to say, but it didn't matter now. The situation was in his hands. Besides, Kahane was a bit drunk. From outside the Burger King, Griffin could see Kahane dipping French fries into a puddle of ketchup. He was drinking coffee. The snack of a college student, thought Griffin.