thought.â
âYes.â Moretti watched the shadow crossing the flawless skin over Sydney Tremaineâs cheekbones. âI gather, Mr. Ensor, that you approved the initial cuts and alterations to your book, but that there have been changes since then that have given you problems. Why? Surely this is fairly normal in the film world?â
âThe changes to the basic plot line are quite unnecessary. This isnât Gilbert Ensorâs Rastrellamento any more â itâs more like Danteâs bloody Inferno.â
âIn what way do you mean that?â
âThe whole projectâs become hell on fucking wheels is how I mean that â I was not speaking intellectually. Each day I spend in contact with the movie world I can feel my brain cells dying, my mental capacity shrinking like a weenie in cold water.â
Moretti ignored the outburst. âYour book and the movie have political content. If I remember rightly, you are harsh in your judgments of both the peasant population â the contadini â and the local aristocracy, when writing about their politics and their loyalties. Is it possible you have opened old wounds?â
âSee, I wondered that.â Suddenly, Gilbert Ensor was quite serious. He leaned forward and offered Moretti a cigarette from a battered packet he pulled from his crumpled linen jacket.
âThank you.â In the interests of establishing rapport â a peace offering, Moretti told his conscience, as he accepted.
âAt first, when someone hurled that thing at me on the terrace, I thought it was some madman who had it in for celebrities. Then I calmed down and thought maybe it was an accident â some moronic kid playing about. Then, when I heard about the damage to the costumes, I thought it was a malicious attempt to scare us off the project.â
âBut itâs a possibility, isnât it?â
âBut why Toni? If you wanted to make a point, youâd try for me again, or go for Monty, or maybe one of the actors taking political roles, wouldnât you? Toni was Mr. Sunshine â a kind of male Pollyanna. Most of the locations had already been scouted, you know, and Monty used him to appease the marchesa. He did damn all and nobody cared, because he was so bloody cheerful and good-tempered. Got up my nose, but I like my humans to be bastards or bitches â thatâs why I married Syd, isnât it, honeybunch?â
Sydney Tremaine slipped down off the windowsill. âIâll be right outside if you need me, Inspector,â she said.
âI probably wonât need to keep you today. Just be available to give a written statement some time.â As she walked from the room, Moretti had the feeling she was removing herself before she lost control.
âI thought it was Mario Bianchi who hired Toni Albarosa, for his local contacts â at least, thatâs what he told me.â
Gilbert Ensor gave a contemptuous laugh. âHe would, poor sod. Trying to hang on to the illusion he has some sort of creative control over Rastrellotitanic, as I like to call it.â
âYou think the projectâs doomed?â
âOh, itâll get made. But it wonât be the movie we started with, and I am seriously thinking of removing my name from the project.â
âHave you said that to anyone?â
âMost likely. When Iâm in a blind rage or in my cups â which is most of the time lately â I say all kinds of things I donât remember.â
âI see. Thank you, Mr. Ensor. The office will be in touch with you some time tomorrow.â
Gilbert Ensor got up from the sofa and crossed to the door. For all his marital raging and sniping, he was a lost soul without his wife to guide him through the maze and morass of everyday life â such as where to find the limousine that would take him home.
âSyd?â His plaintive call reverberated through the echoing expanses of the
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