The Seven Husbands of Evelyn Hugo(89)

“Good,” I said. “Completely fine.”

And because she didn’t say, How was your day? or Anything interesting happen with Max? or even How’s next week looking? I didn’t bring it up.

* * *

I HAD TWO shots of bourbon before Max yelled “Action!” The set was closed. Just me, Don, Max, the cinematographer, and a couple of guys working lighting and sound.

I closed my eyes and told myself to remember how good it felt to want Don all those years ago. I thought of how sublime it was to awaken my own desire, to realize I liked sex, that it wasn’t just about what men wanted, that it was about me, too. I thought of how I wanted to put that seed of a thought into other women’s brains. I thought of how there might be other women out there scared of their own pleasure, of their own power. I thought of what it would mean to have just one woman go home to her husband and say, “Give me what he gave her.”

I put myself in that place of desperate wanting, the ache of needing something only someone else can give you. I used to have that with Don. I had it then with Celia. So I closed my eyes, I focused in on myself, and I went there.

Later on, people would say that Don and I were really having sex in the movie. There were all sorts of rumors that the sex was unsimulated. But those rumors were complete and utter bullshit.

People just thought they saw real sex because the energy was searing, because I convinced myself in that moment that I was a woman in urgent need of him, because Don was able to remember how it felt to want me before he ever had me.

That day on set, I truly let go. I was present and wild and unrestrained. More than I ever had been on film before, more than I ever have been since. It was a moment of purely imagined reckless euphoria.

When Max yelled “Cut!” I snapped out of it. I stood up and rushed to my robe. I blushed. Me. Evelyn Hugo. Blushing.

Don asked if I was all right, and I turned away from him, not wanting him to touch me.

“I’m fine,” I said, and then I went to my dressing room, closed the door, and bawled my eyes out.

I wasn’t ashamed of what I’d done. I wasn’t nervous for audiences to see it. The tears that fell down my face were because I realized what I had done to Celia.

I had been a person who believed she stuck by a certain code. It may not have been a code that others subscribed to, but it was one that made sense to me. And part of that code was being honest with Celia, being good to her.

And this was not good to Celia.

Doing what I had just done, without her blessing, was not good for the woman I loved.

When we wrapped for the day, I walked the fifty blocks home instead of grabbing a car. I needed the time to myself.

I stopped on the way and bought flowers. I called Harry from a pay phone and asked him to take Connor for the night.

Celia was in the bedroom when I got home, drying her hair.

“I got you these,” I said, handing her the bouquet of white lilies. I did not mention that the florist had said that white lilies mean My love is pure.

“Oh, my God,” she said. “They are gorgeous. Thank you.”

She smelled them and then grabbed a water glass, filled it from the tap, and put the flowers in it. “Just for a moment,” she said. “Until I have a chance to choose a vase.”

“I wanted to ask you something,” I said.

“Oh, boy,” she said. “Are these flowers just to butter me up?”

I shook my head. “No,” I said. “The flowers are because I love you. Because I want you to know how often I think of you, how important you are to me. I don’t tell you that enough. I wanted to tell you this way. With those.”

Guilt is a feeling I’ve never made much peace with. I find that when it rears its head, it brings an army. When I feel guilty for one thing, I start to see all the other things I should feel guilty for.

I sat on the foot of our bed. “I just . . . I wanted to let you know that Max and I have discussed it, and I think the love scene in the movie will be more graphic than you and I were thinking.”

“How graphic?”

“Something a bit more intense. Something that conveys Patricia’s desperate need to be pleasured.”

I was lying outright to hide a lie of omission. I was crafting a new narrative, in which Celia would believe that I had asked for her blessing before doing what I had already done.

“Her need to be pleasured?”

“We need to see what Patricia gets out of her relationship with Mark. It’s not just love. It has to be more than that.”

“That makes sense,” Celia said. “You’re saying it answers the question Why does she stay with him?”

“Yeah,” I said, excited that maybe she would understand, maybe I could fix this retroactively. “Exactly. So we are going to shoot an explicit scene between Don and me. I’ll be mostly nude. For the heart of the movie to really sink in, we need to see the two main characters truly vulnerable together, connecting . . . sexually.”