Simon came around and got behind the wheel. "So," he said, "I was thinking we could hit the steakhouse, then go to a movie or maybe watch one at home. But you're going to talk to me and tell me why you've made yourself so scarce the last few days." "All right." Connie sighed. He was right, and so was Emily. This had to stop. She had to collect herself and act like the adult she told herself she was. Simon drove to a local restaurant called The Steak Place, which was exactly what it said. There was no chicken here, nor fish, unless you got it to go with steak. They went in, were seated and placed their orders. Even though it was Friday, it wasn't too crowded, as they managed to hit the slow period between the dinner and late-night rushes. "Okay." Simon tipped his glass towards her, "talk." Connie stared at her fingers for a minute. "There isn't much to say. I'm sorry for how I've been acting. I was just embarrassed." "Why?" "Because of what happened with Ron." She slumped back in her. The deputy's theme. Variations on a basic theme. I mirrored the film school symmetry: I inverted the theme for the assailant and his victim. It worked beautifully. A work for hire, sold to the production company for use on this one film. And that's where the problem started.The distribution rights on the indie got sold to Howie, a porno producer who wanted to transition to being a legit distributor. He bought the film, with the right to recut it. He didn't see any value in the film school symmetry, so he decided that the film would do better as a slasher pic, and he had it recut. As a slasher pic, it made no sense and died in its first screening. It didn't make it out to the drive-ins. But Howie liked the assailant's theme and the victim's theme, and copied them from the soundtrack.Howie's one try meant that he didn't make it as a legit distributor, and he went back to making pornos. But now he played the themes during filming, and he used them in his pictures. And I found out that.
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