Lovegame(8)

Then again, maybe I’m overthinking. It’s not that big of a stretch, after all, to want to represent a murderess behind bars.

Still, I’m disturbed. And because I’m concerned that one of those pictures—me holding on to the bars and looking out—is the one that will make it on the cover, I decide to make sure that doesn’t happen.

Which is why, when they dress me up in the pièce de résistance—an absolutely gorgeous dream of a gown from Christian Dior’s 1955 couture collection that has layers upon layers of scalloped tulle and a sleeveless sweetheart bodice with rose piping—I know I’m running out of time to take matters into my own hands.

My hair is in another elaborate up-do and I’m wearing vintage Harry Winston diamonds that would steal the show if I was wearing anything less than a grown-up princess dress. But I am wearing that dress, and it—combined with the jewels—tells me that this is the look they want to anchor the shoot.

They’re right—I know they’re right—and still the photos of me holding on to those bars haunt me. I need to find a way to move this look from the center spread to the cover. Quickly.

We photograph in the fourth-floor ballroom—of course we do—with its gleaming cherry floors and three hundred and sixty degrees of mirrored walls, only occasionally interrupted by glass doors leading to the small, intimate balconies that overlook much of the estate.

First, I’m dancing under the perfectly polished chandelier, light bouncing off the thousands of crystals and my reflection shining back at me from every direction. Then Marc gets a bunch of shots of me throwing open the gleaming glass doors as I make my escape to the balcony, where I lean against the wrought-iron railings like Juliet waiting for her Romeo.

I take picture after picture, with a vintage champagne glass in my hand or my face buried in a huge bouquet of dahlias. Toward the end, Marc has the stylist and his assistant wrap me up in a long string of artificial belladonna since the real stuff can cause problems if it touches the skin. Then they heap my gloved hands with a mountain of the poisonous black berries and Marc has me hold my hands out to the camera in a deadly macabre offering.

Again and again Marc shoots me like that, taking pictures from every possible angle. On his knees in front of me, looking up. From a ladder above me, looking down. Beside me. Behind me. Across the room. Up close. Again and again he points and clicks. Again and again, I smile and pout and make every other expression he asks for. I even take his suggestion to tilt my head back with my mouth open wide and hold one of the berries between my thumb and index finger as I pretend to be about to drop it in. As I do, I close my eyes and pretend not to be totally icked out.

When I open them two minutes and twenty shots later, the first person I see is Ian. He’s leaning back against one of the mirrored walls and for once his omnipresent notebook is nowhere to be seen. Instead he’s staring straight at me, a half-snarl on his normally calm face and his eyes burning with a mixture of contempt and desire.

It’s the first time I’ve seen anything but pleasant or puzzled interest from him and it has the tiny hairs on the back of my neck standing up. His gaze has ice skating down my spine and a desert taking up residence in my mouth. Because, in that moment, as our eyes lock and his turn impossibly darker, impossibly blacker, I don’t know who he sees. Can’t tell who he wants.

Me or her?

Actress or murderer?

Sentient being or a character he helped create?

It’s just more fuel to add to the fire of my earlier doubts and in that one tense and electric moment, it comes to me. What the cover shot should be.

What I need it to be.

Marc backs off a little, has his assistant come forward with a trash bag for me to throw away the last of the berries and the gloves I’ve been wearing. As she pauses to tie up the bag in front of me, I ask her for a couple wipes.

She quickly returns with a box of baby wipes and I smile my thanks even as Marc instructs me back against the mirror for what he calls “the last series of shots.”

I do as he instructs, but as he’s fiddling with the lighting, I turn toward the mirror and swipe the wipe over the right half of my face.

“What are you doing?” my makeup artist squawks as he comes racing across the room at me.

“Trust me, Dalton,” I tell him as I continue to scrub.

“Stop doing that!” he orders as he grabs on to the end of the wipe and actually tries to wrestle it away from me.

“Just wait,” I instruct, refusing to let go no matter how hard he tugs.

“But—”

“What are you up to, Veronica?” Marc asks. He sounds more intrigued than annoyed.

“I’ll show you,” I tell him, pushing gently at Dalton’s hand until he finally lets go with a whimper.

And then, with the whole room—including Ian—watching me intently, I wipe the entire half side of my face clean of any and all makeup. I do it carefully, making sure that the line that runs down the center of my face is exact so that both sides are completely symmetrical.

When I’m done, I reach up and take off my right earring and hand it to Dalton who still looks slightly shell-shocked. Then I step back and stare at this new reflection of myself in the mirror.

Half me at my most natural, half her at her most armored, it’s a devastating look. Made even more so by the elaborate fifties makeup Dalton has me in—all red lips and thick black liner and long, long lashes.