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Preoccupation with the fallout frohout the house in the 8th or the 16th and because of this there are no errands to complete and everyone seems sufficiently distracted for es, budget reductions, the leasing of an eighty-foot-tall tower crane, roving release dates, a volatile producer in LA seething over a rewrite Before leaving I shoot a scene with Ta our characters’ reactions toward Bruce’s death ( watered) but since she’s not even capable of forin a hallhile a PA feeds ly than Tammy ever did (cutaways to Tammy will presumably be inserted at a later date) For the scene to end, a wig is placed on another PA’s head and the giant Panaflex dollies in on
Jaisterat the co E-malls-as I try to walk casually past her
Outside, the sky is gray, overcast
An apart the corner at Pont de Sully
A black Citroen sits parked at the curb on Rue Saint-Louis-en-l’Isle and seeing the car causes me to walk faster toward it
Russell drives us to an aparte section of the city
I’ the WINGS file printouts, folded in the pocket ofway then chew a Mentos to get the taste off hts of stairs
On the fourth floor is an apart chairs The walls are painted crie boxes sit stacked on top of one another in towering columns A small TV set is hooked up to a VCR that rests on top of a crate Darkness is occasionally broken by lahout the apartment It’s so cold that the floor is slippery with ice
F Fred Palakon sits in one of the white folding chairs next to two of his associates-introduced to me as David Crater and Laurence Delta-and everyone’s in a black suit, everyone just slightly older than arettes are lit, files are opened, Starbucks coffee is offered, passed around, sipped
Facing the in a shadowy corner the Japanesechair next to adraped with crushed-velvet curtains He’s definitely older than the other e is indeterminate He slouches back into the shadows, his eyes fixed onquietly into a cell phone Finally he clicks off and leans in to Palakon, whispering so
"Are you certain?" Palakon asks
Russell closes his eyes, sighs while nodding