Next morning he awoke with an aggravated1 problem. For once he did not want to go to the studio. It was not merely Gyp McCarthy he feared — it was the whole corporate2 might of a moving picture company, nay3 of an industry. Actually to have interfered4 with the shooting of a movie was somehow a major delinquency, compared to which expensive fumblings on the part of producers or writers went comparatively unpunished.
On the other hand zero hour for the car was the day after tomorrow and Louie, the studio bookie, seemed positively5 the last resource and a poor one at that.
Nerving himself with an unpalatable snack from the bottom of the bottle, he went to the studio at ten with his coat collar turned up and his hat pulled low over his ears. He knew a sort of underground railway through the make-up department and the commissary kitchen which might get him to Louie’s suite6 unobserved.
Two studio policemen seized him as he rounded the corner by the barber shop.
‘Hey, I got a pass!’ he protested, ‘Good for a week — signed by Jack7 Berners.’
‘Mr Berners specially8 wants to see you.’
Here it was then — he would be barred from the lot.
‘We could sue you!’ cried Jack Berners. ‘But we couldn’t recover.’
‘What’s one take?’ demanded Pat. ‘You can use another.’
‘No we can’t — the camera jammed. And this morning Lily Keatts took a plane to England. She thought she was through.’
‘Cut the scene,’ suggested Pat — and then on inspiration, ‘I bet I could fix it for you.’
‘You fixed9 it, all right!’ Berners assured him. ‘If there was any way to fix it back I wouldn’t have sent for you.’
He paused, looked speculatively10 at Pat. His buzzer11 sounded and a secretary’s voice said ‘Mr Hilliard’.
‘Send him in.’
George Hilliard was a huge man and the glance he bent12 upon Pat was not kindly13. But there was some other element besides anger in it and Pat squirmed doubtfully as the two men regarded him with almost impersonal14 curiosity — as if he were a candidate for a cannibal’s frying pan.
‘Well, goodbye,’ he suggested uneasily.
‘What do you think, George?’ demanded Berners.
‘Well —’ said Hilliard, hesitantly, ‘we could black out a couple of teeth.’
Pat rose hurriedly and took a step toward the door, but Hilliard seized him and faced him around.
‘Let’s hear you talk,’ he said.
‘You can’t beat me up,’ Pat clamoured. ‘You knock my teeth out and I’ll sue you.’
There was a pause.
‘What do you think?’ demanded Berners.
‘He can’t talk,’ said Hilliard.
‘You damn right I can talk!’ said Pat.
‘We can dub15 three or four lines,’ continued Hilliard, ‘and nobody’ll know the difference. Half the guys you get to play rats can’t talk. The point is this one’s got the physique and the camera will pull it out of his face too.’
Berners nodded.
‘All right, Pat — you’re an actor. You’ve got to play the part this McCarthy had. Only a couple of scenes but they’re important. You’ll have papers to sign with the Guild16 and Central Casting and you can report for work this afternoon.’
‘What is this!’ Pat demanded. ‘I’m no ham —’ Remembering that Hilliard had once been a leading man he recoiled17 from this attitude: ‘I’m a writer.’
‘The character you play is called “The Rat”,’ continued Berners. He explained why it was necessary for Pat to continue his impromptu18 appearance of yesterday. The scenes which included Miss Keatts had been shot first, so that she could fulfil an English engagement. But in the filling out of the skeleton it was necessary to show how the gangsters19 reached their hide-out, and what they did after Miss Keatts dove from the window. Having irrevocably appeared in the shot with Miss Keatts, Pat must appear in half a dozen other shots, to be taken in the next few days.
‘What kind of jack is it?’ Pat inquired.
‘We were paying McCarthy fifty a day — wait a minute Pat — but I thought I’d pay you your last writing price, two-fifty for the week.’
‘How about my reputation?’ objected Pat.
‘I won’t answer that one,’ said Berners. ‘But if Benchley can act and Don Stewart and Lewis and Wilder and Woollcott, I guess it won’t ruin you.’
Pat drew a long breath.
‘Can you let me have fifty on account,’ he asked, ‘because really I earned that yester —’
‘If you got what you earned yesterday you’d be in a hospital. And you’re not going on any bat. Here’s ten dollars and that’s all you see for a week.’
‘How about my car —’
‘To hell with your car.’
点击收听单词发音
1 aggravated | |
使恶化( aggravate的过去式和过去分词 ); 使更严重; 激怒; 使恼火 | |
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2 corporate | |
adj.共同的,全体的;公司的,企业的 | |
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3 nay | |
adv.不;n.反对票,投反对票者 | |
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4 interfered | |
v.干预( interfere的过去式和过去分词 );调停;妨碍;干涉 | |
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5 positively | |
adv.明确地,断然,坚决地;实在,确实 | |
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6 suite | |
n.一套(家具);套房;随从人员 | |
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7 jack | |
n.插座,千斤顶,男人;v.抬起,提醒,扛举;n.(Jake)杰克 | |
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8 specially | |
adv.特定地;特殊地;明确地 | |
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9 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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10 speculatively | |
adv.思考地,思索地;投机地 | |
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11 buzzer | |
n.蜂鸣器;汽笛 | |
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12 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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13 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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14 impersonal | |
adj.无个人感情的,与个人无关的,非人称的 | |
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15 dub | |
vt.(以某种称号)授予,给...起绰号,复制 | |
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16 guild | |
n.行会,同业公会,协会 | |
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17 recoiled | |
v.畏缩( recoil的过去式和过去分词 );退缩;报应;返回 | |
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18 impromptu | |
adj.即席的,即兴的;adv.即兴的(地),无准备的(地) | |
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19 gangsters | |
匪徒,歹徒( gangster的名词复数 ) | |
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