“That’s ninety percent of the shooting schedule. Shit, Evan. We don’t need their money that bad. Not to ruin my movie.”
“First of all, we do need the money. This is a big project with a huge price tag. Second of all, I actually think back lots could give us that old Hollywood vibe. Might be perfect for this period piece.”
That does give me pause. I prop on the edge of the desk and fold my arms over my chest, daring Evan to convince me. “Go on.”
“You said you want to shoot on film, right?”
“Some, yeah, sixteen millimeter for certain sequences. I know it’s expensive, but I’m not compromising on that, Evan. It’s bad enough they want to cast a Mouseketeer.”
“No, they think film is genius, but it gives even more credence to using old Hollywood back lots. Layering that nostalgia in on every level.”
I hate that it’s starting to make sense.
Evan’s slow smile tells me he knows it. “Can I tell them Trey’s in?”
“Not until I see his tape. He’s not getting in without an audition.”
“Well Neevah Saint practically did.”
“Neevah did a damn Broadway show and killed her audition with Mallory.”
“I’ll send you his tape. Mal’s working with his agent. The team’s coming together. We got Verity on the script. Monk’s in for the score. Neevah’s in for Dessi. Costumes will be a huge part of this. We need to start looking at costume designers.”
“Yeah?” I turn back to the storyboard, only half listening now. “Alright, whatever.”
“Lawson Stone has a suggestion.”
Something in Evan’s voice makes me study him over my shoulder suspiciously. “Don’t tell me. His second cousin is a seamstress.”
“Even better.” Evan fights a smirk unsuccessfully. “His wife.”
Now that I wasn’t expecting. “Linh? His wife we met? Whose dad is the sculptor?”
“Yeah, pretty sure he’s only got the one wife.”
“And if he’s willing to get rid of her, you’d be in line.”
“Me? The last thing I want is somebody’s wife.”
“But you think she’s pretty,” I tease.
“I think she’s gorgeous and sexy as hell, but she’s married to our studio exec. There’s plenty of pussy in the sea.”
“Nice with the mixed metaphor. You seen her stuff yet?”
“Yeah, man. She’s terrific, actually. She’s worked on several period pieces but under someone else’s banner. Now starting to branch out on her own.”
“Send it over. I’ll take a look.”
“You mentioned needing to see the chemistry between the two actors,” Evan says. “What do you think about flying Neevah out to do a screen test with Trey?”
This is a sound suggestion, but the thought of seeing Neevah again gives me pause and also, unfortunately, a dangerous thrill of anticipation.
Be smart.
Be cautious.
“Canon?” Evan asks, one brow lifted. “Think we should bring Neevah in for Trey’s screen test?”
“Sorry, dude. My mind is all over the place today. We can ask her, sure.”
“Okay, well since you’ve been dealing with her and she and I haven’t actually met yet, you want to do the honors?”
“Yeah. I will.”
“Cool.” Evan heads for the door. “I’ll coordinate with Trey’s agent.”
Once he’s gone, I consider the phone on my desk. I know I need to make this call, but I’m bracing myself for that husky-sweet voice of hers, and how the sound of it hits me like a shot of whiskey. And I need a clear head.
“You don’t have time for this shit,” I mutter, grabbing the phone and dialing. “It’s just a call.”
She picks up on the second ring.
“Canon?” she asks, sounding a little breathless.
“Hey, yeah. How are you?”
“Good. Great actually.” There’s a slight hesitation on the other end. “Is something wrong? Or did you need something for the movie?”
“Not wrong at all. We—my production partner, Evan—and I wondered if you’re available to fly out for a few days.”
“Oh, wow. To LA? Of course. I can make time. What’s going on?”
“We’re casting Cal, and it would help to see your chemistry with one of the actors we’re considering.”
“Do you know when? I just need to get time off from the show.”
“Right. We’re coordinating with him and his agent now, but we’ll work around you, I’m sure, since we all live here in the city. My assistant, Graham, will reach out to you and make the arrangements.”
“Oh, Graham, so will he—”
“She,” I correct with a smile because everyone assumes that. “I’ll make sure she has your number so we can go from there.”
“Cool.”
I should hang up now, but do I?
“So how have you been?” I ask . . . stupidly.
“Um, great. And you? Not working too hard, I hope.”
“I always work hard, but I’m trying to take it easier before we go into production.”
“Katherine let me take some of Dessi’s diaries and letters. She didn’t even know half that stuff was back there. I thought it might be useful as I prepare. Verity took some, too.”
“Oh, I didn’t even realize that.”
“I’m sorry. If we weren’t supposed to—”
“It’s fine. I grabbed some stuff, too. Katherine’s been really generous.” I shuffle a stack of the multi-colored cards I keep for storyboarding. “Thanks again for talking to her about including some of the new things we discovered.”
“It was nothing. She’s sweet.”
“You’re good with people.”
“Not all people,” she says, something like irony inflected in her voice. “Sometimes it’s easier to be good with people you don’t know than the ones you do. Than the ones who know you.”
My hands still, and I’m not sure how to respond to that. Everyone tastes my impatience at some point, especially when I’m working. Neevah will probably find that out for herself.
“Well, you were good with Katherine,” I say. “And it’ll help us in the long run.”
“Thanks.”
“So you’re still with Splendor. How’s that going?”
Why am I extending this conversation?
“Yeah,” she replies. “Same. Still understudy, but I have gotten onstage a few other times. The lead had a stomach bug—not that I wanted her to be sick or anything. I just meant—”
“Of course not. So you’re staying busy.”
“I’ve been gigging a little more, too, when I can. Like singing some here in the city.”
“You have a beautiful voice.” Unnecessary compliment.
“So do you,” she says.
“Me?” I breathe out a surprised chuckle. “I can’t hold a note in a bucket.”
“Oh.” Her laugh dips low and has me gripping the phone tighter. “I meant . . . talking, I guess. I like your voice when you . . . talk.”