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Chapters (49)
  1. From Wikipedia
  2. Other Books by This Author
  3. Title Page
  4. Dedication
  5. Epigraph
  6. Contents
  7. Chapter One
  8. Chapter Two
  9. Chapter Three
  10. Chapter Four
  11. Chapter Five
  12. Chapter Six
  13. Chapter Seven
  14. Chapter Eight
  15. Chapter Nine
  16. Chapter Ten
  17. Chapter Eleven
  18. Chapter Twelve
  19. Chapter Thirteen
  20. Chapter Fourteen
  21. Chapter Fifteen
  22. Chapter Sixteen
  23. Chapter Seventeen
  24. Chapter Eighteen
  25. Chapter Nineteen
  26. Chapter Twenty
  27. Chapter Twenty-one
  28. Chapter Twenty-two
  29. Chapter Twenty-three
  30. Chapter Twenty-four
  31. Chapter Twenty-five
  32. Chapter Twenty-six
  33. Chapter Twenty-seven
  34. Chapter Twenty-eight
  35. Chapter Twenty-nine
  36. Chapter Thirty
  37. Chapter Thirty-one
  38. Chapter Thirty-two
  39. Chapter Thirty-three
  40. Chapter Thirty-four
  41. Chapter Thirty-five
  42. Chapter Thirty-six
  43. Chapter Thirty-seven
  44. Chapter Thirty-eight
  45. Chapter Thirty-nine
  46. Chapter Forty
  47. Chapter Forty-one
  48. About the Author
  49. Cover

“I made an audition tape for her. I couldn’t find it, but I got the outtake tape. It was a long time ago, so it’s Beta format, but I brought it into the office. We can probably dig out a machine if you wanna see. I did a pretty good job with her.” More of the I’s. I met. I married. I lived. Maybe Karen Shipley wasn’t real. Maybe, like Pinocchio, she was a wooden puppet he had brought to life.

“What’s an audition tape?”

Pat said, “It’s a way for an actor to introduce herself to casting agents. The actor tells you about herself and maybe reads a scene. Peter would’ve shot a lot more tape than Karen would need, then edited it down to three or four minutes. The outtake tape will be the takes they didn’t use in the final product.”

Peter nodded and said something, but his mouth was full of candy again, and I didn’t understand what he said.

I said, “I’ll want to look at it. Do you have a still picture?”

He swallowed the wad of chocolate and peanuts and shook his head.

Pat Kyle opened her briefcase and handed me a black-and-white 8 × 10 head shot of a pretty young woman with dark hair and eyes that would be either green or hazel. “I phoned a friend at SAG and he came up with this.” The woman in the photograph was made up as a waitress with a fluffy apron and cap and a bright the-lemon-pie-is-very-nice-today! smile. She didn’t look convincing. KAREN SHIPLEY was spelled out in block letters along a white border at the bottom of the picture.

I said, “Pretty. Your friend at SAG say if Karen had an agent?”

Pat opened her briefcase again and took out an envelope large enough for the 8 × 10. “A guy named Oscar Curtiss, with two esses. He’s got an office over here, just off Las Palmas. His address is in the envelope.”

Peter came around next to me and looked at the 8 × 10. “Jesus, I remember this.” He gestured at Karen’s face. “Nothing unique about the quality. See the nose, it’s a little too ordinary. See the mouth, maybe it needs to be fuller.” Peter the director. “She had these made before we met. I said Christ, what do you want to look like a dopey waitress for? She said she thought it was cute. I said what a fucking waste.” He stared at the picture a little more, then looked at Pat Kyle. “Can you get me one of these?”

Pat said, “Sure.”