moments when she is on the screen in our sight, she wants to sleep with Ken Willard. Is that plain, Wylie?”
“Passionately plain.”
“Whatever she does, it is in place of sleeping with Ken Willard. If she walks down the street she is walking to sleep with Ken Willard, if she eats her food it is to give her strength to sleep with Ken Willard. But at no time do you give the impression that she would ever consider sleeping with Ken Willard unless they were properly sanctified[70]. I’m ashamed of having to tell you these kindergarten facts, but they have somehow leaked out of the story.”
He opened the script and began to go through it page by page. Miss Doolan’s notes would be typed in quintuplicate and given to them, but Jane Meloney made notes of her own. Broaca put his hand up to his half-closed eyes – he could remember “when a director was something out here,” when writers were gag-men or eager and ashamed young reporters full of whiskey – a director was all there was then. No supervisor – no Stahr.
He started wide-awake as he heard his name.
“It would be nice, John, if you could put the boy on a pointed roof and let him walk around and keep the camera on him. You might get a nice feeling – not danger, not suspense, not pointing for anything – a kid on the roof in the morning.”
Broaca brought himself back in the room.
“All right,” he said, “ – just an element of danger.”
“Not exactly,” said Stahr. “He doesn’t start to fall off the roof. Break into the next scene with it.”
“Through the window,” suggested Jane Meloney. “He could climb in his sister’s window.”
“That’s a good transition,” said Stahr. “Right into the diary scene.”
Broaca was wide-awake now.
“I’ll shoot up at him[71],” he said. “Let him go away from the camera. Just a fixed shot from quite a distance – let him go away from the camera. Don’t follow him. Pick him up in a close shot and let him go away again. No attention on him except against the whole roof and the sky.” He liked the shot – it was a director’s shot that didn’t come up on every page any more. He might use a crane – it would be cheaper in the end than building the roof on the ground with a process sky. That was one thing about Stahr – the literal sky was the limit. He had worked with Jews too long to believe legends that they were small with money[72].
“In the third sequence have him hit the priest,” Stahr said.
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