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“Congratulations.”
“Billy brought Dave Davidson, his number one assistant, to operate the second camera. So I have the two best operators in the business. And to top it all off — do you remember Franklin Mowery?”
“The old bridge builder. Of course. He worked for Lillian’s father.”
“Franklin retired out here. I invited him to where we’re taking pictures to answer my research questions. He’s a walking encyclopedia of railroad history, having been there for most of it. Fabulous stories. And here’s the best part: Dave Davidson has a portrait painter’s eye; he took one look at Franklin’s granite profile and, without saying a word, just started cranking the camera, pretending he was adjusting it or something. Later he showed me twenty feet of Franklin Mowery. The camera absolutely loves him. So I’m putting him in the picture— Oh, Isaac, I’m so excited!”
“Indeed,” said Bell, wondering, How can I ask her to leave this job on a suspicion?
“Don’t worry,” she said, “I warned Franklin Mowery that you are working in disguise and not to reveal that you’re a Van Dorn.”
“It probably doesn’t matter by now.”
“Is that what happened to your foot?”
“My ankle got off easy compared to my motorcycle,” said Bell, and told her what had happened. Then he laid out the strands of the Talking Pictures investigation one by one, from Grady and Rubenoff to his and Texas Walt’s fruitless spying inside Imperial. “Having failed to kill you,” asked Marion, “what do you suppose he’ll try next?”
Isaac Bell looked his beautiful wife in the eye. “You tell me.”
“I know what you’re thinking, Isaac. You’re worried that I’m somehow in danger because I’m ‘coincidentally’ taking pictures for the same company where you installed Clyde Lynds, and now you are having second thoughts.”
“I couldn’t put it better myself,” said Bell. “Something is amiss at Imperial.”
“But I can’t believe that Irina would be part of anything that would hurt me. Besides, you don’t know that Imperial isn’t on the up-and-up.”
“Imperial’s finances are deeply suspect.”
“Everyone’s business finances in moving pictures are deeply suspect. It’s a brand-new business. Nobody knows what’s really going on. We’re all making it up as we go along. That’s why the bankers lend money for only one picture at a time.”
“Are you sure you’ve noticed nothing unusual while taking pictures for The Iron Horse? Nothing out of the ordinary? Nothing different than you’d expect or have seen on other jobs?”
Marion pondered his question. “Only one thing. There’s a film-stock shortage. Everyone in Los Angeles is talking about it. For a month or so, film’s become hard to get and very expensive. Yesterday, Billy and Dave came to me with long faces. Their stock was old. It smelled awful, and they said the pictures would be terribly overexposed. I telephoned Irina. In less than one hour a truck raced up with more than we could use of the most pristine stock you could ask for. It was precisely perforated and smelled fresh as a meadow. You should have seen Billy and Dave rubbing their hands like Silas Marner counting his gold.”
“Where did it come from?”
“It was Eastman Kodak stock, straight from the factory.”
“But Imperial is independent. Eastman made a deal with the Edison Trust: they won’t sell to independents.”
“Where they got it, I don’t know. But for Imperial, at least, there is no shortage.” Anyway, if you’ll limp into the dining room, I’ll bring dinner.”
“What is our first married home-cooked meal?”
“The same as our first-ever home-cooked meal. Do you remember what I made you?”
“I remember you invited me to dinner and cooked pot roast and vegetables. It was splendid, though I have a vague memory that we got sidetracked before dessert— Marion, I’ll bet you’ve some cowboys in The Iron Horse.”
“Bunkhousesful.”
“Got room for one more?”
“Texas Walt?”
Bell nodded. “Just to be on the safe side.”
“If that will make you feel better, of course.”
“I would feel much better knowing my good friend the deadly gunfighter was looking out for you.”
