Read Online Three Women in a Mirror by Éric-Emmanuel Schmitt, Alison Anderson - Free Book Online Page B

child had a solid, tender bond with her adoptive parents. But with Anny this was merely a spontaneous disposition that had evolved as a way of avoiding problems.
    In exchange for the affection she showed them, Anny was afforded a certain amount of freedom, and then her emancipation and independence. Very early on, at the age of sixteen, she left home and spent her time the way she liked, working, partying, flirting, drinking, and getting stoned.
    Johanna Fisher and her team were well aware of their star’s addiction, but they did nothing to try and stop her because it left her at their mercy. Johanna had never attempted to persuade her client to stop abusing alcohol or cocaine, or to try to wean herself off them. As long as Anny’s excesses left no mark on her face, and the cinematographers did not complain, Johanna would let her do whatever she wanted—particularly as it was grist for the mill of the rumormongers and paparazzi.
    â€œDon’t you want to hear the news about the film?”
    â€œI was about to ask you, Johanna.”
    â€œThey’ve suspended production, but the studio is delighted. The producers say it’s great publicity, because hundreds of newspapers have covered the story of your fall, and at the same time they’ve mentioned the title of the film, the director, and the cast. In terms of promotional investment, it’s the equivalent of a windfall of two million dollars, all without spending a cent. They’re over the moon. They’re waiting for you to come back. As soon as you’re back on set, the reporters will be there, too. Okay?”
    â€œOkay.”
    â€œThe doctors say it will take two weeks? In any case, we can figure something out for the close-ups and medium shots; for the long shots where we need you on your feet, either we’ll use a stand-in or I’ll get them to change the schedule and wait a little longer. But let’s not fantasize, Anny: you have to get back to work as soon as possible, otherwise the producers will replace you without a backward glance. Thanks to you and your ‘accident,’ their film is getting a fair amount of publicity and visibility, all to their advantage; they’re not going to drop it. So it’s better for them to communicate on the basis of your continuing contribution rather than to replace you with some starlet.”
    â€œThey would do that?”
    â€œNo one is indispensable, darling.”
    â€œI thought anything but.”
    â€œYou’re joking?”
    â€œAn artist is unique. You cannot replace Picasso with Matisse.”
    â€œWho’s talking about art, toots? You’re making movies in Hollywood. What’s more, when a producer has enough money for a Picasso, he can easily buy a Matisse.”
    Johanna Fisher stood up, annoyed she’d had to start philosophizing. For her, explanations were a waste of time and money. Particularly when it was about something that was perfectly obvious.
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    Feeling somewhat reassured, Anny gave herself over to acting the convalescent. Her young body was recovering much more quickly than Dr. Sinead had anticipated, so much so that the clinic’s physiotherapists were all trying to take credit for it.
    Only Ethan the nurse was aware of the hours Anny spent drifting unhappily, her panicked gazes in the morning, her nocturnal fears, the flashes of anxiety that left her thundering against what seemed to be unbearable pain, and begging for an extra dose of morphine. He had noticed her tendency to dodge things, her gift at sidestepping investigation, the silences that drowned her answers, her talent for cultivating a constant haze; and he felt his concern growing whenever he saw the smile of release spread over Anny’s lovely face, the moment she slipped into unconsciousness after an injection.
    One evening he could not help but ask her, “How are you going to manage once you’re out of the