But if I can just talk to him, just let him know that I got caught up in my own head and that I overreacted, maybe he’ll understand. Maybe he’ll give me another chance. I drain the glass of water that Gloria brought me in one go. Shit, I need to relax. I can’t run a set like this.
I barely finish that thought when Peter walks onto set. His costume today is low-slung jeans and a tight henley that shows off everything that I love about him. I’m seriously screwed. But even if we don’t talk about us, I need to talk to him about the change in the schedule.
I hop off my chair, careful of my ankle. I’m down to a brace, but I still need to be careful. I approach him slowly. “Peter?”
He turns, and his eyes run up and down me quickly, without any emotion. “Amber.”
I swallow. “Rebecca was in a car accident and Harley is in New York, so we’re going to do your solo scene first so we can find another stand-in.”
“That’s fine, thank you.”
His manner shouldn’t surprise me, but it does. He can’t really be this cold, can he? I push off the overwhelming fear. “I was also hoping we might be able to talk later.”
“I’m sorry,” he says, “the scenes today are pretty intense, and I need to prepare.”
He turns back to his script, which I see is covered in scribbles and notes, the same way they always used to be. He obviously got another script after he left my apartment. “Of course,” I say. “But it’s good to see you.”
He nods, nothing more. I close my eyes and breathe for a second before I turn and walk back to my chair. This is my job. My job. I pushed him away to protect it, and he’s listening. The least I can do is perform that job to the best of my ability. So I walk away and let him prepare.
The lighting for this scene isn’t that different, so it’s not long before we’re ready to start. I have another brief conversation with Peter, all business, just notes. It’s a simple scene, some close-ups of him doing work, combined with an emotional moment of him looking at some pictures.
It goes well, and quickly, and before I know it I’m calling a wrap on it. Peter moves off the set to his chair and I make a point of not watching him. I won’t do it. I won’t.
“Well done, darling!” A brash, bold voice comes from behind me. I twist in my chair to find Clay Markham striding up. “Watched the scene. Excellent work, just excellent.”
“Thank you, Clay,” I say, smiling. I had no idea he was here, and it’s comforting, in a way. Clay is always so over the top that it’s endearing and amusing if you know him. “We’re shooting out of order today. One of our stand-ins was in a car accident, and the actress is in New York. So we’re trying to figure that out.”
“I’m sure one of the agencies will send someone over.”
“I’m sure,” I say. “Gloria?”
“Yeah?” She comes over from the craft services table. “What’s up?”
I take the glass of water she holds out to me. Gloria constantly keeps me hydrated. It’s one of the things I like about her. “Where are we on a stand-in?”
“No luck so far,” she says, rolling her eyes. “Seems like a lot of redheads are booked today.”
“It’s Los Angeles. You can’t walk thirty feet without tripping over an actress, and we can’t find one?”
Clay clears his throat. “That’s probably my fault. Since you got inserted into my contract, the studio is probably keeping to the same restrictions I required. There’s only a few agencies that I like to work with.”
Gloria makes a finger gun gesture. “That’s exactly it. The agencies we’re allowed to pull from don’t have anyone available.”
“Well, shit,” I say.
Clay laughs. “Don’t worry. I’m sure you’ll find someone.”
“Honestly, Amber, you should just do it. I’m willing to bet you have the entire script memorized, and you’re a redhead.”
I freeze, looking over at her. “What?”
She shrugs. “It’s one scene. Read the lines with Peter.”
“There has to be some other option.”
“You can’t push it off,” Clay says. “It’s a huge waste of budget to have to prep this again.”
I give him a look, as if he didn’t teach me most of what I know about running a practical set. “I can’t exactly be in front of the camera when I’m supposed to be behind it, Clay.”
That’s the reason I’m going to give, but that’s not the main reason. The real reason is that this is an important scene, not to mention one of the sexiest. It’s filled with sexual tension, and the couple’s first kiss. Two days ago I would have done this in a heartbeat, professionalism be damned. But now, even though it’s something I need to do for the show, Peter could interpret it as me trying to force his hand. To torture him. I don’t want that.