Page 598 - A Little Life: A Novel
P. 598

And then, shortly after that pivotal Thanksgiving, Kit, whom Willem had
                at one point told of his and Jude’s interest in the Camino, had sent him a
                script  with  a  note  that  read  only  “Santiago Blues!”  And  while  it  wasn’t

                exactly Santiago Blues—thank god, he and Jude agreed, it was far better—
                it was in fact set on the Camino, it would in fact be shot partly in real time,
                and  it  did  in  fact  begin  in  the  Pyrenees,  at  Saint-Jean-Pied-de-Port,  and
                ended in Santiago de Compostela. The Stars Over St. James followed two
                men, both named Paul, both of whom would be played by the same actor:
                the  first  was  a  sixteenth-century  French  monk  traveling  the  route  from
                Wittenberg  on  the  eve  of  the  Protestant  Reformation;  the  second  was  a

                contemporary-day pastor from a small American town who was beginning
                to question his own faith. Aside from a few minor characters, who would
                drift in and out of the two Pauls’ lives, his would be the only role.
                   He gave Jude the script to read, and after he finished, Jude had sighed.
                “Brilliant,” he said, sadly. “I wish I could come on this with you, Willem.”
                   “I  wish  you  could,  too,”  he  said,  quietly.  He  wished  Jude  had  easier

                dreams for himself, dreams he could accomplish, dreams Willem could help
                him  accomplish.  But  Jude’s  dreams  were  always  about  movement:  they
                were about walking impossible distances or traversing impossible terrains.
                And although he could walk now, and although he felt less of it than Willem
                could remember him feeling for years, he would, they knew, never live a
                life without pain. The impossible would remain the impossible.
                   He had dinner with the Spanish director, Emanuel, who was young but

                already highly acclaimed and who, despite the complexity and melancholy
                of his script, was buoyant and bright, and kept repeating his astonishment
                that he, Willem, was going to be in his film, that it was his dream to work
                with  him.  He,  in  turn,  told  Emanuel  of  Santiago  Blues  (Emanuel  had
                laughed when Willem described the plot. “Not bad!” he said, and Willem
                had laughed, too. “It’s supposed to be bad!” he corrected Emanuel). He told

                him about how Jude had always wanted to walk this path; how humbled he
                was that he would get to do it for him.
                   “Ah,”  Emanuel  said,  teasingly.  “I  think  this  is  the  man  for  whom  you
                ruined your career, am I right?”
                   He had smiled back. “Yes,” he said. “That’s him.”
                   The days on The Stars Over St. James were very long and, as Jude had
                promised, there was lots of walking (and a caravan of slow-moving trailers

                instead of donkeys). The cell-phone reception was patchy in parts, and so
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