“Exactly,” she said. “And failing, miserably. If they’d asked any of the cast, we’d have told them it was horribly dated. By 1971 the whole Summer of Love thing was deader than vaudeville. And the script was a travesty to begin with. Anyway, that’s how we met, Tammy and I, working on that god-awful movie.”
“Tammy?” I echoed.
“She was Tammy Jones when I met her,” Maggie said. “Tamerlaine Wynncliffe-Jones came later, when she became a Serious Actress.”
“What was she like back then?” I asked.
“I don’t know,” she said. “How much of what I say today about the Tammy of 1971 is true, and how much is colored by the bad things that happened between us later, and how much by the fact that she’s dead, and we all get sentimental about dead people? Even dead enemies.”
“Especially dead enemies,” I said.
“Yeah,” she said, laughing softly. “She was pretty, of course, but it was dimples and fresh skin pretty, not bone structure beautiful. You knew her face might not wear well—she probably knew it, too. I think that’s why she was so…focused. She knew where she wanted to go and what she had to work with, and she could tell she had to get there fast, if she wanted to get there at all.”
“No talent, then?”
“She had talent, yes; but not enough to match her ambition,” Maggie said. “She had brains though, and not a lot of scruples. We both started off with bit parts, but she wanted more. Well, we both wanted more, but I wasn’t unscrupulous enough to sleep with the scriptwriter to get it. Or maybe I’d already figured out exactly how little power the scriptwriter had. She learned fast, though; dumped the poor wordsmith for the director, and she got her extra lines—in one of the worst movies ever filmed, but you have to start somewhere.”
“What was the movie?”
“God, what
“Nate wrote it?” I exclaimed, glancing over at the table that Nate had apparently vacated. “He was the scriptwriter she…um…”
“You bet,” she said, shaking her glass and smiling. “That’s how they met, working on that movie. And probably how she met that comic book writer, too.”
“Ichabod Dilley?”
“Yeah, that’s the guy. He was an artist, actually. Nate dug a kid up somewhere to do the psychedelic paintings they used in the film.”
So Nate had known Ichabod Dilley, too. Curious that he hadn’t mentioned it just now.
“What was he like?” I asked.
“Dilley? I didn’t really know him,” she said, shrugging. “He was this total recluse who never came to the set, though perhaps Nate was just trying to be mysterious about his discovery. I think I only ever saw Dilley once: tall; skeletally thin; long, greasy brown hair. Had one of those unfortunate, mangy beards, the kind you see on a kid who’s really too young to grow one but insists on trying anyway. And big, round wire-rimmed sunglasses, and an oversized pea coat. Unprepossessing.”
“You didn’t like him?” I said.
“I didn’t
Maggie shrugged, and took a sip from her iced tea.
“I always thought the poor kid based those comics on her, if you really want to know,” she said.
“The Porfiria comics?”
“Yeah,” she said. “You ever read them? In the comics, Porfiria is pure Tammy. As she was then. No wonder she wanted so badly to play the part. It was perfect for her. Too bad the chance finally came about twenty-five years too late.”
She sat back, clinking the ice in her drink, and smiling again. I waited, because I could tell the scene hadn’t ended. Maybe a melodramatic way of thinking, but I suspected that was how Maggie saw life: as a series of scenes that often hung together badly, like a movie made by an incompetent director from a wretched script. And there wasn’t anything Maggie could do about that, but at least she could control her own performance. Make any scene in which she appeared as good as she knew how. I’d seen Michael trying to teach his acting students about pacing. I’d heard his lecture to the Drama 101 class on the structure of a well-made play. Even I could tell that this scene still needed a proper ending.
Maggie took a swallow, and then reached down into her tapestry bag, rummaged around for a bit, and came out with something.
“This was us,” she said. “Taken on the set.”
She handed over a plastic sleeve containing a 4?6 color photo that had obviously been around a while before someone decided it was worth protecting with the sleeve. In the shot, a group of about twenty beautiful young people smiled into the camera. They were wearing costumes from the early seventies. Okay, the photo was taken in 1971, but they were still costumes—Hollywood’s idea of what flower children looked like. Flower children, and a couple of Hell’s Angels who looked as young and innocent as the pseudohippies. All of them a lot cleaner than their real-life counterparts probably managed to be, and with hair so perfect you knew a stylist with a brush and a big can of hairspray lurked just out of the frame. The women, all sporting long, pre-Raphaelite hair, wore granny gowns, Indian-print dresses, fringed or beaded halter tops over artfully frayed jeans. The men’s tresses were almost as long—some less obviously wigs than others—and most wore beards or mustaches and flowered shirts or tie-dyed T-shirts in rainbow colors.
I could see the younger Maggie, near the back of the group. The QB—Tammy, as she was then—near the center, draped artfully on the shoulder of one of the most attractive young men. All the men seemed to be standing closer to her than they had to. I could see why. She had a glow—that’s the only way to describe her.
And off at one side, Nate, looking as if he’d walked onto the set from another movie, or maybe out of a bad high school yearbook picture. Tall, skinny, with thick glasses, wearing a badly fitting suit. Oddly enough, he looked less ridiculous than most of the men in the picture. Or at least less painfully dated. But he certainly didn’t look as if he fit in, or expected to. The photographer had probably told them all to move closer together for the camera, and the men around Tammy had done so eagerly, and Nate had sidled perhaps an inch closer before the shutter immortalized him, standing awkwardly on the periphery, the perpetual outsider.
Which was usually how he looked today, even after thirty years. The badly fitting suit was visibly more expensive, but otherwise nothing much had changed. In the photo, he looked almost like a time traveler from the present. Had he been ahead of his time, or had he simply found, early on, a kind of anti-style that endured better than fashion? I recalled looking in my high school yearbook recently, and noticing, to my surprise, that from a distance of nearly two decades, the cool people didn’t look nearly as cool anymore. The fashionable clothes and trendy hairstyles hadn’t worn well. And all the rest of us, the little people who’d despaired of ever being that cool —we looked rather normal. Time, the great leveler.
I wondered if I’d recognize any of those beautiful young actors if I saw them today. Apart from Maggie and the QB, of course. Probably not. Thirty years can do a lot to a person. Any one of them could be walking around, pretending to be nothing more than an aging Porfiria fan.
And Maggie was right. The QB looked like Porfiria. Not the aging Porfiria of the TV show, but the young, vibrant, earthy Porfiria of Ichabod Dilley’s drawings.
“
“Check the dealers’ room,” I said. “I’ll bet anything one of the dealers has got a copy, even if it’s only a bad quality bootleg tape.”
“I said I hadn’t seen it, not that I wanted to,” she said, with a laugh. “But maybe I should go and buy up all the copies they have. Protect my reputation as a serious actress.”
“You’d go broke buying up all the copies,” I said.
