Katherine Page - The Body in the Cast

Once again, Alan explained, Reed planned to mix past and present events, dissolving from one to the other until time itself became completely obscured.

“All of you are gathered to hear a proposal for a new youth center, spearheaded by Reverend Dimmesdale, Cappy Camson. Evelyn O'Clair—that is, Hester—un- able to resist seeing him, creeps into a seat in the rear of the hall. She's wearing a long black hooded cloak as a disguise. On no account is anyone to turn around or pay any attention to her, even those next to her. It's as if she wasn't here, remember. But Dimmesdale sees her immediately, knows who it is, of course, and memories of their shared passion befuddle his presentation. He is meeting her for the first time. They are making love.”

Alan was going off into some private screening room of his own.

“Finally, he imagines that she is coming toward him as he pulls down a flowchart. She will actually be walking down the aisle at this point, but again only Dimmesdale can see her. He blinks and she vanishes. Roger Chillingworth gets up on the stage. He announces he will donate ten thousand dollars to the fund in honor of `men like Arthur Dimmesdale.' Now you react. Clap, whistle, stomp, whatever, until you see this light go out"—he pointed off camera—"then stop immediately. We're going to run through all of it a couple of times before we shoot, so don't worry. After the applause, Dimmesdale tries to refuse the honor, then Hester reappears and walks back to her seat. This time, she is visible to everyone. As she goes by the stage, Chillingworth looks from the minister to his wife and realizes with full force what he has suspected all along—that Dimmesdale is Hester's lover. When Hester passes each row, you will stand up in turn and silently point at her—like this, with your right arms.”

He stretched his arm out full length and pointed his finger. "As she passes, you turn slightly to keep pointing at her, still without saying a word. When she reaches the door, Pearl—Caresse Carroll—rises from one of the chairs and stands behind her mother. Hesterkneels and Pearl silently puts her hands over her mother's eyes, then you'll hear the director say `Cut.' That's it. Any questions?”

Millicent raised her hand, her right arm stretched out full length.

“Yes?"

“Are you sure you don't mean that those of us seated on the left side of the aisle should point with our right hands and those on the right side with our lefts? f you're striving for symmetry, as I understand Mr. Reed often does.”

Alan Morris looked terribly flustered.

“I'll have to ask the director." He left hastily, pointing in the air first with one hand, then with the other.

Millicent sat down to general, unspoken acclaim. The pride of Aleford. Gave those movie people something to think about, bet your boots.

Alan returned after a few minutes.

“Mr. Reed likes the concept and we'll go with it. Does everyone understand the change?”

Of course they did. They all knew their rights from their lefts and especially which side they were on.

“All right, let's break for ten minutes, then come back and try it out.”

Millicent Revere McKinley made for the rear of the hall swiftly, decisively slicing through the crowd shuffling to its feet like McCormick's reaper through a field of ripe wheat. Seconds later, she was in the basement of the building, swinging open the kitchen door.

The town hall's basement was legendary, even for Aleford. Some swore that there were tunnels from Civil War days, used as part of the Underground Railroad. Others said the tunnels were a legacy from a Prohibition-era board of unsavory selectmen, but this was thought to be sour grapes on the part of the descendants of those not elected to said board. There was always some desultory talk at Town Meeting time about hiring someone to break through the backs of a few closets and rooms to find these tunnels, but nothing had ever come of it. Others doubted the existence of these tunnels, period, and thought both uses apocryphal, yet they did not deny the Byzantine nature of the existing hallways and rooms, many without any electricity. There was also a smaller hall, Asterbrook Hall, with a stage that was often used for the less ambitious productions of the Aleford Thespians; several bathrooms of varying vintages; and a large kitchen. Have Faith had received permission to use this facility, and the entire staff was busy preparing the buffet to be served in the cavernous marble-tiled first-floor entry, the scene of other soirees, Faith surmised after discovering an ancient, and nonfunctional, dumbwaiter.

It was into a frenzy of steaming pots and piles of freshly cut sandwiches that Millicent sailed, blithely disregarding all agenda save one.

“Faith, where's your husband?" she demanded, implying both that Faith was amazingly lucky to have a husband and that said husband was dangerously close to being stricken from Millicent's Christmas card list.

“Why, he's home. With his children, our children." One had to be precise with Millicent. "Is anything wrong?"

“I thought he was going to talk to Penny, and just now upstairs I asked her if she'd seen Tom Fairchild lately and she said she had in church, which sounds to me as if Tom is forgetting our Agreement!”

Your agreement, Faith amended to herself, saying out loud, "Tom has tried to talk to Penny. He called her on Saturday, but she put him off. She told him she couldn't discuss anything relating to Alden's charges with him or anyone else because they involved things that happened a long time ago and were private. She didn't accept our invitation to Sunday dinner, either—not that we wanted her to say anything more. We just wanted to show our support." This should satisfy Millicent, although Faith was sure it wouldn't. It didn't.

“I expected more from Tom," she said sadly. "He has such a good reputation around town.”

For what? Faith wondered. Wringing confessions out of unwilling parishioners? Getting people to do things they didn't want to do? Maybe this last was partly true. When the church needed volunteers, people tended to cross the street if they saw him approaching with that disarming smile of his.

“Well, it can't be helped. I must go back upstairs. Such a lot of fuss over standing up and sitting down. You would think we were imbeciles."

“I'm sorry." Faith found herself apologizing. Millicent had that effect. "Perhaps Penny is right and the town will simply have to trust her. In any case, we'll find out in less than a week from tonight. Right here again."

“He's up there, of course." Faith was a beat behind and realized Millicent meant Alden, not the Almighty, when she added, "Couldn't wear the foolish buttons on his suit, but it's written all over his face, and there are some stupid enough to listen to him. Pushing one another out of the way to be near him. Like a boy with a new toy they want. Fair-weather friends. I don't know what they're doing living here.”

For Millicent, Aleford was the land of the brave, the true, milk and honey all in one.

“I'll see you at supper. Break a leg.”

Either Miss McKinley had never heard the old stage adage or she chose to take it literally. Scowling, she went out the swinging door marked IN.

“Phew," said Niki. "You'd better call Tom and tell him to sleep with a pistol near his pillow."

“He usually does," Faith said sweetly.

It was a very long night. Max wasn't happy with anything and they did the whole scene and then parts of the scene over and over and over again. He tried having them all point with their lefts, then their rights, then every other person left and right, then randomly. After that, he was upset with Cappy's reaction to Dimmesdale's offer and had the young actor do take after take. Marta Haree was on the set, although not in the scene, and Max spent time between takes talking to her and to Nils. Marta was draped in her trademark scarves and wearing several large crystals on a chain around her neck.