Killing Moon

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‘Oslo,’ the man said, raising the glass of whiskey to his lips.

‘That’s the place you love the most?’ Lucille asked.

He stared ahead, seeming to think about his answer before he nodded. She studied him while he drank. He was tall; even sitting down on the bar stool next to her he towered above her. He had to be at least ten, maybe twenty years younger than her seventy-two; it was hard to tell with alcoholics. His face and body seemed carved from wood, lean, pure and rigid. His skin was pale, a fine mesh of blue veins visible on his nose, which together with bloodshot eyes, the irises the colour of faded denim, suggested he had lived hard. Drunk hard. Fallen hard. And loved hard too, perhaps, for during the month he had become a regular at Creatures she had glimpsed a hurt in his eyes. Like that of a beaten dog, kicked out of the pack, always on his own at the end of the bar. Next to Bronco, the mechanical bull that Ben, the bar owner, had taken from the set of the giant turkey Urban Cowboy, where he had worked as a propman. It served as a reminder that Los Angeles wasn’t a city built on movie successes but on a garbage heap of human and financial failure. Over eighty per cent of all the films made bombed completely and lost money; the city had the highest homeless population in the USA, living at a density comparable to Mumbai. Traffic congestion was in the process of choking the life out of the city, though street crime, drugs and violence might get there first. But the sun was shining. Yes, that damn Californian dentist’s lamp never switched off, but shone relentlessly, making all the baubles in this phoney town glitter like real diamonds, like true stories of success. If only they knew. Like she, Lucille, knew, because she had been there, on the stage. And backstage.

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