The Director's Cut by Js Taylor (if you give a mouse a cookie read aloud txt) 📕

I feel him freeze momentarily, before continuing the casual movement of his arm.

Does he know I’m not wearing panties?

The thought makes me feel wicked and sexy all at once. I can’t say for sure that James knows what’s underneath my skirt. But the sudden tight expression on his face suggests he might.

Maybe I’ll leave them off, I think, and surprise him later.

The thought of being alone with him later is almost too much to bear. But I’m excited too, to be acting.

“It’s just scenes with you and Callum and Natalie today,” James explains. And I realise the subtext of what he’s saying: “You don’t have to act with me yet.”

I feel relieved, but also a little disappointed.

I’d much rather find my feet on set before trying to act with James. But a memory of our intense first meeting keeps spiking up. The chemistry between us when we acted was incredible. I can’t wait to experience it again.

James strides away, and I’m left with Callum, feeling a little as though the sun has gone in.

“You went to drama school, right?” Callum says.

“Yes.”

“Then you know almost everything already,” Callum reassures me. He must have caught a glimpse of my terrified expression returning as James slid away.

“I know all the words for everything,” I admit, “and what everyone does. But it feels so different actually being here. It’s like looking at a picture of some exotic country,” I add, “and then actually being there, in the din and chaos.”

Callum smiles at the metaphor.

“Don’t worry,” he says, patting my shoulder. “See those crosses there?”

He points to two separate spots on the floor.

I nod.

“That’s you, that’s me,” he says. “When they yell, ‘Places!’, all you gotta do is be in that spot. After that, just deliver your lines. And we all know you can do that,” he adds with an impish smile.

I smile back, trying to stem my heart from racing.

“In any case, you don’t need to worry, for… Ooo… at least an hour.” Callum checks his watch exaggeratedly.

“Why’s that?” I turn to him in confusion. “I thought James had just told us to be on set.”

“Ah yes,” says Callum, tapping his nose. “Us lowly professionals have to be here. But you’re forgetting, there’s also Hollywood royalty in residence.”

He gives me a knowing glance. “We’ll all have to wait for Natalie Ennis.”

Chapter 18

In the end, we don’t have to wait anything like an hour. But Natalie still shows up twenty minutes late, with an expression like a sulky schoolgirl. Judging from her posture and attitude, James had some serious words with her.

Carol is trailing behind her, like a puppy. Doubtless, she’s trying to second-guess what Natalie’s next demands might be.

“Ok,” shouts James, his deep voice booming across the square. “We’re ready to get going.”

I let my eyes sweep over the mocked-up café front, which the set handlers have built.

I can’t help but admire their handiwork.

Until this morning, this part of the square was an ordinary-looking pharmacy. But they’ve built it out to look like a charming European café, complete with outdoor seating and huge glass frontages.

In the setting of the wider square, it looks totally natural, and charmingly Spanish.

I’m willing to bet, if we all left the set right now, more than one tourist would try and order coffee here.

Although up close, you can see the glass is actually plastic, apart from one large pane, which is sugar-glass.

Part of the scene is a comedy moment, in which Callum comes crashing through the café window, so this will be where he falls.

“Extras, onto set please,” calls James.

Even the sound of his voice makes me melt. How am I going to act with him without giving away how I feel?

At least the script is on my side. My character is supposed to fall in love with his, after all.

A small group of extras troop onto the set. Lorna is one of them, and she turns to give me an excited grin. She looks gorgeous, as usual.

Her flawless model skin and even features have been enhanced with screen make-up, and she’s been dressed in jeans and a skinny tee.

I grin back, and she takes her seat at one of the outdoor tables. A man who I recognise as David, the props handler, swoops in and begins setting out cups and coffee pots.

Lorna is given a tall glass of orange juice and a croissant on a plate.

I wonder how her hangover is treating her. Judging by her expression as the food and drinks are set in front of her, she’s not feeling great.

“Cast. Places!” James voice comes loud again.

Places.

I freeze for a moment, and Callum helpfully shoves me towards my starting point.

I stand hesitantly on the taped cross, trying to work out if I need to be exactly on top of it or slightly to the side.

I look over to Callum to see he’s silently laughing at me good-naturedly, and I give him a self-pitying grin and a shrug.

He points to the middle of the cross below his feet, and I move to stand in the centre of mine.

Natalie walks over to her seat in the outdoor café and sits.

The cameras swing and adjust to focus on her table.

“Does anyone need a last minute look at scripts?” asks James. He’s moved closer to the set now.

I’ve learned this scene so thoroughly, I could recite it in my sleep. So I shake my head. Callum also waves away the need for a script, but Natalie puts her hand up.

“Just give me two seconds, ok?” she calls. “I just want to double check something about where I’m sitting.”

We wait a few beats, until Natalie has satisfied herself as to the logistics. She nods, and a crew member swoops in to relieve her of the script.

“Ok,” says James. “Extras, just act natural. Chat. Drink coffee. Everyone ready?”

He makes a glance around the set.

And then it’s time for the famous words.

“Lights!” calls James.

A blaze of subtle lighting beams on, throwing Natalie’s features into sharp relief.

“Cameras!”

None of the cameras move,