She clicked off. Leah raised her eyebrows questioningly.
“My ex. He can be obnoxious too. You know what happened with my kids?”
“I read it in the papers.”
“He has them for the next three months and will hardly let me speak to them.”
“I guess we’re both getting it from our ex’s.”
Sossity wanted to change the subject. She asked Leah about the plays. Leah talked about roles.
“Ophelia is not a very big part in Hamlet, ” she said, “though you have to play her intensely when
she comes on stage. It’s hard to play insanity and make it convincing—especially hers, because it’s . . .
well, articulate insanity. The character of ‘The Woman’ in Scotland Road is much more intriguing. I said
I’m playing two crazy women, but you’re not really sure if the Woman in Scotland Road is crazy or not.
She may be telling the truth—that’s the thing that makes it so spooky and postmodern. But I don’t want
to ruin it for you.”
“What about the play you’re doing Saturday?”
She grinned. “I’m The Woman from Hell in that play. Nice roles, aren’t they? The director made
the character of Death and me mimes—black clothes, faces painted white with our eyes highlighted. It’s
a pretty cool play, though.”
“I’ll look forward to seeing it.”
“I’d better go. It’s a long way down to the studio. I can catch a taxi if you need to be somewhere,
Sossity. I feel like I’ve imposed on you enough already.”
“You haven’t imposed at all. I do have one request, though. I’m a little drunk and I wonder if you
could drive. I’m afraid I’ll get another DUI or smash up the Avanti.”
“Drive that really cool car of yours?