The husband's name was Chet, or Chester — something like that. Robert couldn't remember. The man was a hulking giant. He had fit himself uncomfortably into the pair of black vinyl seats next to the bed and wouldn't stop tapping his feet. Robert thought he probably weighed three, three-fifty. He had on a blue baseball cap and a shabby gold sweatshirt. When he moved, it was like this colossal shifting in the room, and everyone was thrown off balance. It was like gravity. If he got in the frame, Robert had to pull back the zoom, because otherwise there was this wall taking up half the shot, this big gold wall. He loomed over the bed when the contractions came, his hands enveloping hers, like he could contain what was happening, like he could hold it there for her.
There hadn't been a contraction in a while. It was one-thirty in the morning. Robert sat behind the camera on a plastic stool he'd brought with him and occasionally adjusted the tripod level. Carmichael, the producer, sat behind him and watched. Earlier he'd been reading a newspaper, but now he just watched. It was just them and the wife and the husband in the room right now, and nobody was saying anything. They all stared off in different directions and occasionally dozed off. The wife lay on the bed, damp blond hair spread out all over the pillow, eyes closed. She had pale, freckled skin that turned ghostly when Robert set the lighting too high, so now he was just using a couple of bulbs and a reflector, and that helped.
Robert was sick of the woman. She was in the center of the room, and most of the time he had to keep his camera on her in case something started to happen, and he was trying to be compassionate, sure, to put himself in her shoes and all that, but he was exhausted. Carmichael had said a couple hours, tops, and he couldn't stop thinking, feverishly: She reminds me of you. She reminds me of you. And he was trying like crazy not to think that.