They'd walked past blotchy paintings, glass and metal sculpture, huge stone pots, Indian baskets, brass Buddhas, more plants (the smell was heavy-duty greenhouse). Upstairs, one door was partially open. As they'd walked past, Traub'd shut it quickly, but not fast enough to keep Rune from seeing an assembly of sleeping limbs. There were at least three arms and she was pretty sure she saw two blonde hairdos.

The back of the apartment opened onto a courtyard around a green bronze fountain. This is where they were sitting when Rune told him that she was doing a film about Shelly Lowe.

And Danny Traub had looked to the side — into the eyes of his portable audience — and delivered his line about really, truly, loving Shelly Lowe.

He was stationary when he offered this, but he didn't stay still for long. As he talked about Shelly he bounced up, radiating energy, and rocked on his feet, swinging his arms back and forth. He dropped into the chair again and continued to shift positions and stretch out until he was nearly horizontal, then swung his legs over the arm.

“I was, the word that comes to mind is, devastated. I mean, like, fucking devastated about what happened. She and me were best buddies on the set. I'm not saying we didn't disagree — we both have strong personalities. But we were a team, we were. An example, always better if you have examples. Now, it's cheapest and most efficient to shoot direct to video.”

“Betacam or Ikegami running one-inch tape through an Ampex.”

Traub grinned and pointed Rune out to the audience. “Do we have a sharp kid or what? Yessir, ladies and gentlemen.” Back to Rune. “Anyway, Shelly wanted to shoot on thirty-five millimeter fucking film. I mean, forget it. Your budget is ten thousand for the whole flick. How can you spend eight on film and processing alone — and even that's Jewing down the price at one of the labs. Then forget about postproduction... Well, finally I get Shelly to agree no thirty-five millimeter. But right away she starts up on sixteen millimeter. It looks better, so can I argue?... Anyway, that was typical. Creative disputes, you know. But we respected each other.”

“Who won? About the film, I mean?”

“I always win. Well, most of the time. A couple films we shot on sixteen. 'Course that was the one that got the AAAF Picture of the Year Award.” He pointed to an Oscar-like statue on his mantel.

“What does a producer do exactly?”

“Hey, this kid is just like Mike Wallace — question, question, question... Okay, a producer in this business? He tries out the actresses. Hey, just kidding. I do what all producers do. I finance a film, hire the cast and crew, contract with a postpro house. The business side, you know. I happen to direct some too. I'm pretty good at it.”

“Can I tape you talking about Shelly?”