Fleeing the Scene

fiction installment 12~
(Sung, the South Korean force behind the fictional “James Bond” reboot, acts and speaks according to his status and native culture. His English is understandable if sometimes stilted. His dialogue—like Fletcher’s, but for different reasons—is unusual. Unlike Fletcher, however, Sung does not cultivate eccentricity.)

Jasper raced away, wondering how Fletcher had heard of the “multi-hyphenate Korean” preparing to reboot James Bond.

But he wasn’t fleeing Fletcher. He was fleeing Brooke. After her cathartic Hamlet, Jasper had no choice but to run. Although, it wasn’t a choice but rather—had he lost his damned mind?

Despite just glimpses of her teaching Dex to swim and playing with Ivy, Jasper had apparently talked Brooke Logan into some foolhardy scheme, twice. These requests to the gorgeous teenager had been so flagrantly out-of-bounds, he had dismissed their implications—until Fletcher accused him of concealing a feverish desire for her.

Far worse, he had failed to consider her feelings!  Until the town’s renowned alcoholic had asked if she kept him awake at night!

At Hamlet’s end, when Brooke curtseyed on stage, Jasper sprinted to his car. Guilty to the core, he had waited, in case Fletcher might explain Jasper’s rude disappearance as typical of selfish, facile actors.

He hated having Brooke think of him like that, but she deserved an explanation–one he couldn’t and shouldn’t attempt.

After speeding south on 375, he parked in West Hurley and phoned the surveillance company. Could they turn off the power and turn on the monitors in his tower? “My meeting in the city,” he said, “got pushed ahead. I’m leaving tonight.”

A woman whose name he didn’t know said, “Consider it done, Jasper,” and reminded him that his wife had stipulated that someone visit the property each week.

“Great if you do that kind of thing,” he said, thanking her and hanging up.

Good thing he’d refused Sasha’s plan to install lenses throughout Windfalls–a vast and various terrain his wife hadn’t once ventured into, remaining always inside a chauffer-driven SUV or on the deck by the pool.

This way, with no outside, monitors if—no, when—Brooke arrived to watch the movie, no camera would capture her knocking on the tower’s door, ringing the bell, possibly even calling his name. Would she do that?

Well, he had certainly done all he could to prompt that during the few five-minute intervals they were alone. He recalled (although he never really forgot) the unabashed light in her eyes, and the energy between them when he had touched her cheek that time in the tower’s kitchen.

How dare he escort her inside! And while leading her upstairs, explain that many actors live separate from their family while developing a character—as if his acting were of that caliber!

Carefree, nonchalant Jasper King never struggled with these complications. He liked women, not girls, for a season or a shoot, and at the end, they parted fondly. Other than this latest unbelievable blunder, his only mistake may have been Allegra, a dancer who had taught a movement-as-character workshop three years ago in L.A. But that relationship had developed because Sasha liked Allegra’s cocaine.

Scheduled to see Allegra on Monday, he phoned his friend Cliff, who lived in L.A. but kept an apartment in Olympic Towers. Cliff answered on the first ring. “I’ll alert the doorman. But try not to trash the place.”

“You know me,” Jasper said. Afterwards, he arranged for house cleaners, which delighted Cliff, whose other friends supposedly left scum in the tub and the beds a mess.

Two hours later, Jasper turned in his summer rental at 54th St. and arrived at Cliff’s spacious rooms overlooking Central Park. On Saturday, he ran beside the Hudson River and practiced recorded French for a remake of an obscure surreal film. He didn’t speak French and had never been to France. So he presumed he would be dubbed. He was cast because of Children’s Minds–and because he wanted the role. Intent on the cadence necessary for the oo-sounds, he didn’t hear the phone ring at first. He interrupted Sung Il Sung known as Sung, mid-message.

Sung asked to reschedule their meeting, because people in London wanted to thrash through the storyline.

Jasper said, “Any time’s fine.”

They met that afternoon for lunch at Jungsik, an expensive Korean restaurant. Fresh scallops arrived. Sung explained that the new James Bond must be proficient in Taekwondo. “Jeffrey says you have a black belt.”

Jasper smiled. “From an unaffiliated school in Sedona, Arizona 15 years ago.”

Sung nodded. Jeffrey had been his agent, too. “I once sparred with you on Wilshire Boulevard, however. With proper training, you could do well.”

Jasper thanked him.

Sung visited Woodstock frequently for Buddhist retreats. “Tibetan Buddhism is more accepting than Korean Buddhism.”

Jasper took his children to that temple one afternoon. “At ages three and eight, they loved the bright silence.”

Apropos of nothing, Jasper said, “Before I left, I saw a magnificent Hamlet at Woodstock’s Playhouse.”

“I appreciate—magnificence.” Sung lived in Seoul. He had learned English as an adult.

Tasting the watermelon, Jasper felt the phrase and flavor combine.

“And the fight choreography?” Sung asked.

“Fight? Oh, the rapiers. I focused mostly on Hamlet’s death.”

“Interesting. Rapiers should still be thrilling. Do you know sword fighting? Fencing?”

Jasper didn’t.

Sung would enjoy teaching him.

After the interview, Jasper flew home, having forgotten Allegra, whom he phoned in the air. She cursed and hung up.

by kathleen maher

full series here

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Fletcher Assumes

 

Fletcher Assumes


Fletcher hadn’t answered Brooke’s calls because he had spoken “at some length” with the troupe’s regular director. They acknowledged that Kirsten should be stronger, but who cared? Fletcher did, of course, but if Terrible were Ophelia, he would need to direct her.  “Or did you assume your little sister would comply with your every dictate, Abominable?”

“We might have agreed. And what if I was calling about something else?”

“I assumed not.  Because Kirsten rang Alan, who rang me. Yet my faith in you never wavered. I trusted you to smooth any ruffled feathers. Just as you always do.”

“Oh.”  Brooke still wanted to talk about the play, for he had never openly praised her before.  But if she asked to talk later, after she’d had some toast and coffee, he might not answer until next spring.  Or if he did, he’d ridicule her.  Sometimes his rants were funny, and usually instructive, but Fletcher cultivated a scathing manner so that if he drunkenly lashed out, people were like “typical” and left him alone.

Upbraiding her was Fletcher’s style of mentoring. Because if he didn’t respect her, he wouldn’t have given her Hamlet.  He wouldn’t have insisted that Brooke be his assistant director starting when she was only twelve-years-old. Then as now, Ma was the house manager, the PR director, and producer for the summer theatre.  Fletcher required infinitely more assistance than Jenny could give him—but why Brooke?  When the general consensus of her even then had been: wild, extravagant, and impudent.  Ma had said that wasn’t true but as it happened, Fletcher appreciated such traits.

Brooke did not. If she could, she’d be restrained and focused, not excessive and impetuous. Most of all, she would be the kind of girl whose father never beat her up.

Tara said that because of Pop, Brooke must always beware of confusing abuse with affection.  So insulting! Did Tara view her as a candidate for a pop psychology TV show?  Like, calling Dr. Phil?

“Not exactly, but you can’t dismiss the documented results of child abuse.”

“Shut up, Tara.”

Only the girls, Ma, and Pop knew. And for now, Pop stayed away.  Brooke would never admit that she missed him, but she did. So let Tara think Fletcher was the worst of it.

Anyway, sporadic tirades aside, Fletcher liked them both. And he loved Ma, who made sure he remained the lifelong director of Woodstock’s summer theatre.  Because Fletcher’s long dead lover, Sir Jeremy, whom Fletcher called Dickie (to this day) had especially loved Ma.

When the couple had arrived at the realty after opening The Phantom of the Opera on Broadway, Sir Jeremy was immediately taken by Ma, who reminded him of his cousin Lily. Ma had just started working at the realty, upon finishing high school. She answered the phones and listed places for sale, which she kept in a black binder. But Sir Jeremy had requested her opinion. first on the property and then on the house they were building.

Fletcher was the one who told Brooke that his lover, who died before she was born, had been a baronet, like a character in Jane Austen. And that Dickie had known Andrew Lloyd-Webber all his life. In most of his theatrical extravaganza’s, Baron Lloyd-Weber casually added handful of Dickie’s lines, and then Fletcher’s, to The Phantom of the libretto.

Fletcher in those days had been like a punk-rocker. The big craze was in the 70s. Fletcher belonged to the Trainspotting  era.  Dickie had seen him hanging around and so Fletcher, who was doing “nothing legal” picked him up. Dickie, who loved Fletcher on sight, thought he was brilliant and promoted his ideas for all Lloyd-Webber’s pre-1990s productions. “Nothing but smart ass wisecracks! But then Dickie taught him everything.

Ma had been their one friend in Woodstock. They would invite her to their parties at the octagonal house rising from the creek near Mid-Mountain Way. Then in 1993, they moved there for good—Dickie was fatally ill.

Ma ran errands and arranged appointments. She fixed martinis and listened to them trade lines from Shakespeare and Noel Coward. Both of them, it turned out, hated musicals. When Dickie died, Fletcher drowned his sorrows in gin. During the 21 years since, Fletcher’s one activity was directing Woodstock’s summer play.

But at that moment, he was telling Brooke about Children’s Minds. Fletcher, like Ma, Tara, and billions of others, loved the show about a pediatric psychotherapist who figured out kids’ secret torments and what to do about them.

Brooke said, “I’ve never watched a whole episode.”

“So he said.”

She panicked, hearing this.

“You babysat for his children, did you not?”

“Yes. But Jasper was away, working on the grand finale.”

“But when he was there…?”

Her impulse was to throw down the phone.

Fletcher shouted at her. “Certainly, you know your boyfriend earned four Emmy’s before he was 25.”

“Fletcher! What do you mean—boyfriend?”

“Tut-tut, nothing personal. Few so-called straight actors are so…unpersuadable.”

“You mean unpersuadable by—you?”

“Naughty minx, by any man.”

“I can’t believe you asked him that.”

“Don’t be coy, Abominable. Jasper King is so good-looking he must acquire real skill or his career will amount to audiences drooling over him.”

“Disgusting.”

“Indeed. After saying your Hamlet amazed him, he accepted my offer to coach him next summer. The man has a lot to learn.”

Brooke felt creepy. Something about Fletcher guessing she’d be home with a hangover…But she refused to let Fletcher get to her, and said, “Any other weekday, I’d be at school now.”

“Appalling! You must cease your attendance this minute!”

“Last fall I attended a playwright workshop on 42nd Street, because you recommended me! I applied to Vassar early, using my freshman year test scores. So Presidential Scholarship or not, I’m going.”

“Perish the thought! You’ll then direct Hamlet like everyone else.”

by kathleen maher

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