a character; about the dialogue you are given, the things your character does. None of it matters. You can take the most awful words, all the words, all the names, the acts he types into the text block. You can say these things, and the way you say them can change the meaning. You can say, “You dirty bitch. You cunt,” and say them differently each time; can make it a joke, an endearment, a cry for help, a seduction. You can kill, be a vampire, a soulless thing. The audience will love you no matter what you do. If you want them to love you. Some of them will always love you.
He needs air. He drops the phone on the floor again where Pilar will find it in the morning. Decides to walk down to the lake. He will have to go past Meggie’s trailer on the way, only he doesn’t. Instead he stands there watching as a shadow slips out of the door of the trailer and down the stairs and away. Going where? Almost not there at all.
Ray?
He could follow. But he doesn’t.
He wonders if Meggie is awake. The door to her trailer is off the latch and so the demon lover steps inside.
Makes his way to her bedroom, no lights, she is not awake. He will do no harm. Only wants to see her safe and sleeping. An old friend can go to see an old friend.
Meggie’s a shape in the bed and he comes closer so he can see her face. There is someone in the bed with Meggie.
Ray looks at the demon lover and the demon lover looks back at Ray. Ray’s right hand rests on Meggie’s breast. Ray raises the other hand, beckons the demon lover closer.
The next morning is what you would predict. The crew of Who’s There? packs up to leave; Pilar discovers the text messages on her phone.
Did I do that? the demon lover says. I was drunk. I may have done that. Oh God, oh hell, oh fuck. He plays his part.
This may get messy. Oh, he knows how messy it can get. Pilar can make some real money with those texts. Fawn, if she wants, can use them against him in the divorce.
He doesn’t know how he gets in these situations.
Fawn has called Meggie. So there’s that, as well. Meggie waits to talk to him until almost everyone else has packed up and gone; it’s early afternoon now. Really, he should already have left. He has things he’ll need to do. Decisions to make about flights, a new phone. He needs to call his publicist, his agent. Time for them to earn their keep. He likes to keep them busy.
Ray is off somewhere. The demon lover isn’t too sorry about this.
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