them. âNobody likes old women.â
âWho told you that?â
âI didnât have to be told. I donât like old women.â
âIâm sorry to hear it. Most audiences do, you know. How else would you explain Jessica Tandy and Ethel Barrymore and Constance Bernhardt?â
âConstanceâ Your grandmother. Thatâs why youâre so hot for this play!â
âLena does remind me of Constance. But that wouldnât be enough. This is a terrific play, Monte, and you know it. Itâs hard to believe that Kent wrote itâthat he knows so much at his ageâbut somehow he got it all right: itâs a solid story with wonderful lines and the characters are absolutely true toââ He stopped as the buzzer on Gerhartâs desk sounded.
âWell, the great playwrightâs here,â Gerhart said. âWeâll see what he has to say.â
âHe wonât like it,â Luke said flatly.
There was a rush of air, as if a tornado had spun into the office. Kent Home was young, tall and thin and flamboyantly good-looking, with a shock of black hair, dark blue eyes magnified by wire-rimmed glasses and a long neck that made his head seem like a kind of beacon, swiveling to take in the world. He wore faded blue jeans, a belt with a silver-and-turquoise buckle and a white open-necked shirt, and he was talking before he was more than two steps inside the door. âIâve got a great idea for act two, not a change really, but a terrific way to make Daniel look stronger a little earlier, we donât have to wait quite so long to see what heâs really like inside. Iâd thought of it earlier, actually, butââ
âGood morning,â Monte said, standing behind his desk.
Kent looked at his outstretched hand. âPretty formal, Monte. I mean, weâre practically related, right? When you do a play . . .â He looked at Luke. âHi.â
âMonte thinks structure is a good thing,â Luke said, amused, and Kent shrugged and went to the desk to shake Monteâs hand.
âGood morning,â he said, emphasizing the words. âGlad to see you looking so well. Glad to see everybody looking so well. God, itâs nice to be cool. I walked from my apartment and I could feel myself melting, starting with my feet and sinking into a puddle, like the Wicked Witch of the Westââ
âWeâre talking about rewriting Lena so sheâs fifty,â Monte said, sitting down. âBetter for audience identificaââ
âFifty? Fifty years old instead of eighty-two? Youâre not serious.â
âIf weâre talking about it, weâre serious.â
âYou canât be. Youâre out of your mind. Luke?â Kent turned to him. âYouâre serious about this?â
âI wouldnât tolerate it.â
âThen why the hell are we talking about it?â
âBecause I want to,â Gerhart growled. He drew wide hips, curving them into mountainous thighs, then threw down his pen. âListen, damn it, Iâve produced fifteen plays and twelve of them made money. Twelve! Four are still making money. Thatâs a hell of a record, and you know it, and I had something to say about every one of those plays. Just because I spent my time making money instead of going to college doesnât mean I donât know whatâs wrong with the theater. You people talk to each other too much; you forget ordinary folks. And ordinary folks like young; they donât like old.â
âBullshit.â Kent had been prowling the room; now he stood in the center of it, legs apart. âThe Magician is about LenaâChrist, Monte, you know thisâwhoâs the real magician, the way she makes things happen between people, and itâs partly because of her age. I mean, you donât have all that wisdom when youâre young.â
âYouâre
Colleen Hoover, Tarryn Fisher