Play It as It Lays

1970, MARIA

WHAT MAKES IAGO EVIL? some people ask. I never ask.

Another example, one which springs to mind because Mrs.

Burstein saw a pygmy rattler in the artichoke garden this morning and has been intractable since: I never ask about snakes. Why should Shalimar attract kraits. Why should a coral snake need two glands of neurotoxic poison to survive while a king snake, so similarly marked, needs none. Where is the Darwinian logic there.

You might ask that. I never would, not any more. I recall an incident reported not long ago in the Los Angeles Herald-Examiner: two honeymooners, natives of Detroit, found dead in their Scout camper near Boca Raton, a coral snake still coiled in the thermal blanket.

Why? Unless you are prepared to take the long view, there is no satisfactory answer to such questions.

Just so. I am what I am. To look for "reasons" is beside the point.

But because the pursuit of reasons is their business here, they ask me questions. Maria, yes or no: I see a cock in this inkblot. Maria, yes or no: A large number of people are guilty of bad sexual conduct, I believe my sins are unpardonable, I have been disappointed in love. How could I answer? How could it apply? NOTHING

APPLIES, I print with the magnetized IBM pencil. What does apply, they ask later, as if the word "nothing" were ambiguous, open to interpretation, a questionable fragment of an Icelandic rune. There are only certain facts, I say, trying again to be an agreeable player of the game. Certain facts, certain things that happened. (Why bother, you might ask. I bother for Kate. What I play for here is Kate. Carter put Kate in there and I am going to get her out.) They will misread the facts, invent connections, will extrapolate reasons where none exist, but I told you, that is their business here.

So they suggested that I set down the facts, and the facts are these: My name is Maria Wyeth. That is pronounced Mar-eye-ah, to get it straight at the outset. Some people here call me "Mrs. Lang,"

but I never did. Age, thirty-one. Married. Divorced. One daughter, age four. (I talk about Kate to no one here. In the place where Kate is they put electrodes on her head and needles in her spine and try to figure what went wrong. It is one more version of why does a coral snake have two glands of neurotoxic poison. Kate has soft down on her spine and an aberrant chemical in her brain. Kate is Kate. Carter could not remember the soft down on her spine or he would not let them put needles there.) From my mother I inherited my looks and a tendency to migraine. From my father I inherited an optimism which did not leave me until recently.

Details: I was born in Reno, Nev., and moved nine years later to Silver Wells, Nev., pop. then 28, now 0. We moved down to Silver Wells because my father lost the Reno house in a private game and happened to remember that he owned this town, Silver Wells. He had bought it or won it or maybe his father left it to him, I'm not sure which and it doesn't matter to you. We had a lot of things and places that came and went, a cattle ranch with no cattle and a ski resort picked up on somebody's second mortgage and a motel that would have been advantageously situated at a freeway exit had the freeway been built; I was raised to believe that what came in on the next roll would always be better than what went out on the last. I no longer believe that, but I am telling you how it was. What we had in Silver Wells was three hundred acres of mesquite and some houses and a Flying A and a zinc mine and a Tonopah & Tidewater RR

siding and a trinket shop and later, after my father and his partner Benny Austin hit on the idea that Silver Wells was a natural tourist attraction, a midget golf course and a reptile museum and a restaurant with some slots and two crap tables. The slots were not exactly moneymakers because the only person who played them was Paulette, with nickels from the cashbox. Paulette ran the restaurant and (I see now) balled my father and sometimes let me pretend to cashier after school. I say "pretend" because there were no customers. As it happened the highway my father counted on came nowhere near and the money ran out and my mother got sick and Benny Austin went back to Vegas, I ran into him in the Flamingo a few years ago. "Your father's only Waterloo was he was a man always twenty years before his time," Benny advised me that night in the Flamingo. 'The ghost-town scheme, the midget golf, the automatic blackjack concept, what do you see today? Harry Wyeth could be a Rock efeller in Silver Wells today."

"There isn't any Silver Wells today," I said. "It's in the middle of a missile range."

"I'm speaking about then, Maria. As it was."

Benny called for a round of Cuba Libres, a drink I have never known anyone but my mother and father and Benny Austin to order, and I gave him some chips to play for me and went to the ladies' room and never came back. I told myself it was because I didn't want Benny to see the kind of man I was with, I was with a man who was playing baccarat with hundred-dollar bills behind the rope, but that wasn't all of it. I might as well lay it on the line, I have trouble with as it was.

I mean it leads nowhere. Benny Austin, my mother sitting in Paulette's empty restaurant when it was 120° outside looking through her magazines for contests we could enter (Waikiki, Paris France, Roman Holiday, my mother's yearnings suffused our life like nerve gas, cross the ocean in a silver plane, she would croon to herself and mean it, see the jungle when it's wet with rain), the three of us driving down to Vegas in the pickup and then driving home again in the clear night, a hundred miles down and a hundred back and nobody on the highway either way, just the snakes stretched on the warm asphalt and my mother with a willted gardenia in her dark hair and my father keeping a fifth of Jim Beam on the floorboard and talking about his plans, he always had a lot of plans, I never in my life had any plans, none of it makes any sense, none of it adds up.

New York: what sense did that make? An eighteen-year-old girl from Silver Wells, Nevada, graduates from the Consolidated Union High School in Tonopah and goes to New York to take acting lessons, how do you figure it? My mother thought being an actress was a nice idea, she used to cut my hair in bangs to look like Margaret Sullavan, and my father said not to be afraid to go because if certain deals worked out as anticipated he and my mother would be regular airline passengers between Las Vegas and New York City, so I went. As it turned out, the last time but once I ever saw my mother was sitting in the Vegas airport drinking a Cuba Libre, but there you are. Everything goes. I am working very hard at not thinking about how everything goes. I watch a hummingbird, throw the I Ching but never read the coins, keep my mind in the now. New York. Let me stick to certain facts. What happened was this: I looked all right (I'm not telling you I was blessed or cursed, I'm telling a fact, I know it from all the pictures) and somebody photographed me and before long I was getting $100 an hour from the agencies and $50 from the magazines which in those days was not bad and I knew a lot of Southerners and faggots and rich boys and that was how I spent my days and nights. The night my mother ran the car off the highway outside Tonopah I was with a drunk rich boy at the old Morocco, as close as I could figure later: I didn't know about it for a couple of weeks because the coyotes tore her up before anybody found her and my father couldn't tell me. ('Jesus but we had 'a good thing going in Silver Wells," Benny Austin said that night in the Flamingo, and maybe they did, maybe I did, maybe I never should have left, but that line of thinking leads nowhere because as I told Benny there is no Silver Wells. The last I heard of Paulette she was living in a Sun City. Think that one over.) My father's letter was mailed to an old address and forwarded, I read it in a taxi one morning when I was late for a sitting and when I hit the f act in the middle of the second paragraph I began to scream and did not work for a month after. The letter is still in my makeup box but I am careful not to read it unless I am drunk, which in my current situation is never. "This is a bad hand but God if there is one, and Honey I sincerely believe there must be 'Something, never meant it to set you back in your Plans," is how it ends. "Don't let them bluff you back there because you're holding all the aces."

Easy aces. I am not sure what year it was because I have this problem with as it was, but after a while I had a bad time. (There, you will say now, she believed her sins were unpardonable, but I told you, nothing applies.) The tulips on Park Avenue looked dirty and I was sent twice to Montego Bay to get some color back in my face but I could not sleep alone and stayed up late and it was falling apart with Ivan Costello and everything showed in the camera by then. Of course I did not get back to Nevada that year because that was the year I screamed at Ivan and married Carter, and the next was the year we came here and Carter put me in a couple of little pictures (one you may have seen, a doctor here claims to have seen it but he will say anything to make me talk, the other never distributed) and I don't know what happened the year after that and then I started getting to Nevada quite a bit, but by then my father was dead and I was not married any more.

Those are the facts. Now I lie in the sun and play solitaire and listen to the sea (the sea is down the cliff but I am not allowed to swim, only on Sundays when we are accompanied) and watch a hummingbird. I try not to think of dead things and plumbing. I try not to hear the air conditioner in that bedroom in Encino. I try not to live in Silver Wells or in New York or with Carter. I try to live in the now and keep my eye on the hummingbird. I see no one I used to know, but then I'm not just crazy about a lot of people. I mean maybe I was holding all the aces, but what was the game?

HELENE

I SAW MARIA TODAY. Or at least I tried to see Maria today: I made the effort. I didn't make it for Maria I don't mind saying, I made it for Carter, or for BZ, or for old times or for something, not for Maria. "I don't much want to talk to you, Helene," was what she said the last time. "It's not personal, Helene, I just don't talk any more." Not for Maria.

Anyway I didn't. See her. I drove all the way out there, took the entire morning and packed a box for her, all the new books and a chiffon scarf she left at the beach once (she was careless, it must have cost thirty dollars, she was always careless) and a pound of caviar, maybe not Beluga but Maria shouldn't bitch now, plus a letter from Ivan Costello and a long profile somebody did in The New York Times about Carter, you'd think that would at least interest her except Maria has never been able to bear Carter's success, all that, and Maria wouldn't see me. "Mrs. Lang is resting,"

the nurse said. I could see her resting, I could see her down by the pool in the same bikini she was wearing the summer she killed BZ, lying by that swimming pool with a shade over her eyes as if she hadn't a care or a responsibility in the world. She never puts on any weight, you'll notice that's often true of selfish women. Not that I blame Maria for anything that happened to me, although I'm the one who suffered, I'm the one who should be "resting," I'm the one who lost BZ through her carelessness, her selfishness, but I blame her only on Carter's behalf. Half a chance and she would have killed Carter too. She was always a very selfish girl, it was first last and always Maria.

CARTER

HERE ARE SOME SCENES I have very clear in my mind.

"I always get breakfast out," I say to someone. This is at a dinner party, a group of friends. Maria would say that they were not her friends, but Maria has never understood friendship, conversation, the normal amenities of social exchange. Maria has difficulty talking to people with whom she is not sleeping.

"I go to the Wilshire or the Beverly Hills," I say. "I read the trades, I like to be alone at breakfast."

'In fact he doesn't always get breakfast out," Maria says, very low, to no one in particular. "In fact the last time he got breakfast out was on April 17."

The others at the table look first at her and then away, astonished, uneasy: something in the way her hands are tensed on the edge of the table prevents passing this off. Only BZ continues to look directly at her.

"Oh fuck it," she says then, and tears run down her cheeks. She still looks very straight ahead at no one in particular.

Another scene: she is playing on the lawn with the baby, tossing up drops of water from a clear plastic

hose. "Watch out she doesn't get chilled," I say from the terrace; Maria looks up, drops the hose, and walks away from the baby toward the poolhouse. She turns, and looks back at the baby. "Your father wants to talk to you," she says. Her voice is neutral.

After BZ's death there was a time When I played and replayed these scenes and others like them, composed them as if for the camera, trying to find some order, a pattern. I found none. All I can say is this: it was after a succession of such small scenes that I began to see the improbability of a rapprochement with Maria.