ROYAL Very much. But she asked me to leave,and I had to respect her position on the matter. MARGOT Was it our fault?ROYAL(long pause) No. Obviously, we had to make certainsacrifices as a result of havingchildren, but no. Lord, no.RICHIE Why’d she ask you to leave?ROYAL(sadly)I don’t really know any more. Maybe Iwasn’t as true to her as I could’ve been.CHAS Well, she says --ROYALLet’s not rehash it, Chassie. An Indian man with salt-and-pepper hair, dressed in pink pants, a white shirt and a white apron, comes in from thekitchen with a Martini on a tray. He is Pagoda. NARRATOR (V.O.)They were never legally divorced.Pagoda hands Royal the Martini.ROYALThanks, Pagoda.INT. HALLWAY. DAY. A gallery of the children’s art, done mostly in crayon, butwith beautiful frames and careful lighting. The subject matter includes: spaceships, wild animals, sailboats, motorcycles, and war scenes with tanks and paratroopers. A stuffed and mounted boar’s head with its teeth bared hangsin the stairwell. A label on it says “Wild Javelina, Andes Mountains.” Under the stairs there is a telephone room thesize of a closet. Old messages are tacked to the walls, and the children’s heights are marked on the door frame. A thirty-three-year-old woman with a scarf around her neckand sunglasses on top of her head talks on a rotarytelephone. She is Etheline.