Katherine Page - The Body in the Cast

“Evelyn, of course. I wish he'd said something about Sandra Wilson. I'm sure the studio never had a service for her, either. Then there's poor Corny. I'll bet Max has completely forgotten about her. She told me she'd invited him to the wedding and didn't hear from him. Alan Morris called to say Max couldn't make it. I wonder what he sent for a present?”

Cornelia Stuyvesant's family had taken a dim view of an industry in which employees were rendered unconscious by trophy-armed lunatics, and they'd whisked young Cornelia straight from the hospital to Bermuda. Not at all coincidentally, the eminently eligible son of dear friends happened to be sailing there. It was love at first tack, and if Cornelia was watching tonight'shoopla, it was on a wide screen TV in Connecticut.

“Oh, come on, after the commercial, it's going to be Best Picture. You can't not watch!" Tom was reading Larry Bird's Drive: The Story of My Life.

“Yes, I can or can't. Whichever means I'd rather read my book." Tom had been ready to go to sleep an hour ago and had trouble understanding why Faith was so insistent on watching the rest of the tedious show. "You can find out tomorrow," he'd said.

“It's not the same. Besides, I like to see what people are wearing," she'd replied. And here they were, still up in front of the tube.

“All right, if it means so much to you." He put the book away and slung his arm around his wife's shoulders. "At least can we neck?"

“After, I promise."

“That's what all the girls say."

“Sssh, here it is.”

A few minutes earlier, the screen had been split to show the reactions of the nominees for Best Director. Along with the viewers all over the globe, the Fairchilds were able to catch Max's joy at winning. Now the screen was divided again. Max was holding Marta's hand.

“I'm sure it's going to get Best Picture, since Max got Best Director," Faith told her uninterested husband.

“Millicent never had any doubts. You could have trusted her and we'd be in bed by now.”

Much of Aleford had been quietly taking credit for the picture's success during the last months. It had been tacitly assumed that of course their movie would win. And Aleford was right.

Max's acceptance speech was brief. He opened by saying, "There is someone who should be on this stage with me, and if I didn't think Billy would kill me for getting us off schedule, I'd have him up here."

“Him?" Faith said. "I thought it was going to be Evelyn again. Oh, I know, he's going to thank Nathaniel Hawthorne."

“I'm sure Nate would have appreciated that," Tom said sardonically. "And, by the way, would you mind telling me how Hawthorne would join Max onstage?"

“Sssh! I can't hear what he's saying!"

“He's my right hand." Max flung his whole arm out dramatically. "Maybe even the right side of my brain. All I know is, this picture could never have been made without him. Alan Morris, my assistant director.”

Alan was floored. Cappy jabbed him to stand up and he did, bowing slightly as the audience applauded wildly. For him. Maybe just one more picture with Max. Love and hate.

Clutching this best of all Oscars, Maxwell Reed closed by acknowledging the town—as was only fair.

“Some of those watching know that we went through a few tough times on this film and the good folks of Aleford, Massachusetts, were there for us. I'd like to thank them for their generous help and for providing the perfect landscapes." He chuckled and waited for the slight laughter to die down. "The individual people are too numerous to mention.”

The camera was panning along the faces of A's cast as Max spoke these last words. Alan Morris had tears in his eyes. Cappy looked relieved. Caresse smiled her famous smile. Jacqueline had moistened her lips. It lingered on Marta, who looked directly into the lens—directly at Faith.

“But," continued the director, "you know who you are.”

And Marta winked.

EXCERPTS FROM

HAVE FAITH IN YOUR KITCHEN

BY Faith Sibley Fairchild

A WORK IN PROGRESS

It was marvelous to observe how the ghosts of bygone meals were continually rising up before him; not in anger or retribution, but as if grateful for his former appreciation and seeking to reduplicate an endless series of enjoyment, at once shadowy and sensual.

UNADULTERATED BLACK BEAN SOUP

1 pound dried black beans

1/4 teaspoon freshly ground pepper

2 ham hocks or 1 ham bone

2 medium onions, 1 red and 1 yellow

1 tablespoon dry sherry or Madeira (optional)

7-8 cups water

sour cream

/ teaspoon salt

chives

Pick over the beans, rinse, cover with cold water, and bring to a boil for 2 minutes. Remove from heat and let stand at least 1 hour. (Or soak the beans overnight.) Rinse the ham hocks. Peel and quarter the onions. Bury hocks and onions in the beans. Add 7-8 cups cold water and bring to a boil. Turn the heat down and simmer 11/2 to 2 hours. Be sure the beans are soft.

Remove the hocks or bone and strip any meat from them. Add the meat to the soup and puree the mixture in batches in a blender. (Note: a food processor sometimes leaks with this much liquid.) Put the pureed soup in a clean pot; warm, adding the seasonings and wine, if used. Serve with a dollop of sour cream and finely minced chives. For a special party, put the sour cream in a pastry tube and pipe two concentric circles on top of the soup. Take a sharp knife and pull it through the circles, first toward the center, then away, for a nice spiderweb effect.

This soup tastes better if made a day ahead. Serves 8 to 10—more if served as a first course.

NORWEGIAN MEATBALLS

1/2 pound ground veal

3 slices of salt pork (or slab 1/2 pound lean ground beef bacon), rendered

3 inches square,

/ cup bread crumbs 1 egg, slightly beaten 1/2 teaspoon salt

/ teaspoon ground nutmeg

/ teaspoon freshly ground pepper

Sauce

2 tablespoons butter

2 tablespoons flour

1/ cups beef stock

Combine the meats, crumbs, egg, and seasonings into balls 1/ inches in diameter, using as little pressure as possible. Cover and let stand for 1 hour.

Brown the meatballs in the pork fat.

In a separate pot, melt the butter and add the flour, whisking together to make a roux. Slowly add the stock, stirring constantly. Bring to a boil and add the browned meatballs. Simmer very low for 1/ hours. Serve over egg noodles and garnish with finely chopped parsley. Serves 4 to 6.

PEAR BRIE PIZZETTE

Dough

1 1/2 teaspoons salt I cup warm water

1 tablespoon olive oil

1 package granular yeast

2 1/2-3 cups all-purpose flour (not rapid-rising)

cornmeal

1 teaspoon sugar

Pour the water in a bowl and sprinkle the yeast on top. Add the sugar, salt, olive oil, and mix until the yeast is dissolved. Add 1/ cups of flour, stir, and add 1 more cup. Combine thoroughly and turn the dough out onto a lightly floured surface, adding the rest of the flour if the dough is too sticky. Knead for 5 minutes.

Put the dough in a lightly oiled bowl and let rise in a warm place until double in bulk—about 1 hour. Punch down and divide into two pieces for pizzettes. Let the dough rest for about 15 minutes. Using a rolling pin or your hands, shape into two rounds.

Topping

2 large ripe pears (comice 3 large yellow onions are especially good)

1 tablespoon olive oil

1/2-3/4 pound ripe, but not runny, Brie

1 tablespoon unsalted butter

1 1/2 tablespoons sugar

Preheat the oven to 450°.

Slice the onions into thin rings and sauté in the melted butter and oil until limp. Cover the pan, stirring occasionally. Cook slowly for about 15 minutes. Uncover the pan, sprinkle the onions with the sugar, turn up the heat, and cook until well browned. Stir constantly. The sugar caramelizes the onions. This will take 15 to 20 minutes. Set the onions aside.