For a man born in the obscure little Balkan country of Mixo-Lydia, Raoul St. Cyr had done very well for himself in Hollywood. In 1939 St. Cyr, growing alarmed at the imminence of war, departed for America, taking with him the print of an unpronounceable Mixo-Lydian film he had made, which might be translated roughly as The Pores In the Face of the Peasant.
With this he established his artistic reputation as a great director, though if the truth were known, it was really poverty that caused The Pores to be so artistically lighted, and simple drunkenness which had made most of the cast act out one of the strangest performances in film history. But critics compared The Pores to a ballet and praised inordinately the beauty of its leading lady, now known to the world as DeeDee Fleming.
DeeDee was so incredibly beautiful that the law of compensation would force one to expect incredible stupidity as well. One was not disappointed. DeeDee's neurons didn't know anything. She had heard of emotions, and under St. Cyr's bullying could imitate a few of them, but other directors had gone mad trying to get through the semantic block that kept DeeDee's mind a calm, unruffled pool possibly three inches deep. St. Cyr merely bellowed. This simple, primordial approach seemed to be the only one that made sense to Summit's greatest investment and top star.
With this whip-hand over the beautiful and brainless DeeDee, St. Cyr quickly rose to the top in Hollywood. He had undoubted talent. He could make one picture very well indeed. He had made it twenty times already, each time starring DeeDee, and each time perfecting his own feudalistic production unit. Whenever anyone disagreed with St. Cyr, he had only to threaten to go over to MGM and take the obedient DeeDee with him, for he had never allowed her to sign a long-term contract and she worked only on a picture-to-picture basis. Even Tolliver Watt knuckled under when St. Cyr voiced the threat of removing DeeDee.
"Sit down, Martin," Tolliver Watt said. He was a tall, lean, hatchet-faced man who looked like a horse being starved because he was too proud to eat hay. With calm, detached omnipotence he inclined his grey-shot head a millimeter, while a faintly pained expression passed fleetingly across his face.
"Highball, please," he said.
A white-clad waiter appeared noiselessly from nowhere and glided forward with a tray. It was at this point that Martin felt the last stiles readjust in his brain, and entirely on impulse he reached out and took the frosted highball glass from the tray. Without observing this the waiter glided on and presented Watt with a gleaming salver full of nothing. Watt and the waiter regarded the tray.
Then their eyes met. There was a brief silence.
"Here," Martin said, replacing the glass. "Much too weak. Get me another, please. I'm reorienting toward a new phase, which means a different optimum," he explained to the puzzled Watt as he readjusted a chair beside the great man and dropped into it. Odd that he had never before felt at ease during rushes. Right now he felt fine. Perfectly at ease. Relaxed.