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“Argenti, over here!” The cameras flash and Argenti struts across the carpet like it’s second nature. He grins for the journalists and photographers, turns to show off his burgundy velvet three piece. Out of the corner of his eye, he sees his agent waving, signaling for him to come over. There’s a journalist waiting, a waif of a girl who looks nervous, like it might be her first on-carpet interview.
“M-Mr. Argenti, hi! I’m Keira with H-List - I, um, I was wondering if you had any anecdotes you wanted to share about A Handyman for the Holidays?” She tugs at her dress a little, but stands up straighter when he offers her an encouraging smile. “I know this isn’t your first gay rom-com but I’m curious as to how things went with your co-star to get to this point? He’s new to the scene so our viewers are itching to know more!”
Argenti lets his eyes drift to the side, catches Boothill all done up in a designer suit of his own, talking to some press across the way. For all that he’s new to being in front of the camera as a star, he’s handling press extremely well. Argenti has to suppress a proud smile and shake his head clear as he turns back to Keira.
“Anecdotes, hm?” Argenti lets himself get lost in the memories of filming for a moment.
--
“Boothill, right?” Argenti sticks out a hand, smiles brightly. “It’s wonderful to meet you, and I eagerly look forward to working with you and getting to know you better!”
The man in question shrugs and scratches at the back of his neck awkwardly before he’s returning the handshake. “Yeah, that’s me. You must be the main lead then? Ar...genti?”
Argenti shakes Boothill’s hand firmly, notes his firm grip despite his seeming reluctance. “Yes, that’s right! Though I’d like to think we’re both the main leads - it is a romantic comedy after all, and you are playing my love interest.”
Boothill’s brow furrow before he shakes his head, and then he’s offering a small smile to Argenti. “Right, sorry. ‘m not used to bein’ in front of the camera as the actor, ‘m usually a stuntman so - this is all sorta new for me.”
“I’ve heard! If you have any questions or just want to workshop anything, try things out, let me know and I’ll be more than happy to help!”
They exchange numbers and set up some time to get to know each other, after. Argenti learns that Boothill had been a stunt performer for over a decade, working stunts for many A-listers throughout his time in the field. Boothill tells him that he still loves stunt work, but that his body doesn’t feel the same way, which startles a laugh out of Argenti.
“It can be daunting to make the move to on-screen acting, but it’s easier than you think.” Argenti leans in conspiratorially then, “Especially on a movie like this one.”
Boothill frowns, puzzled. “Whaddaya mean? Because it’s gay?”
Argenti guffaws. “No, no! Of course that isn’t what I meant - I’ve done plenty of same-sex romance films. I meant more because it’s a silly little holiday film meant to be aired on television for stay-at-home moms to watch during the day time. Very low stakes.” He winks then, and pockets the image of Boothill blushing in return.
He’s very handsome, lithe with toned muscles. His hair sits just past his shoulders, if Argenti had to guess - it’s in a messy bun today so he can’t know for sure. There’s not much to be known about him, even after Argenti had scoured the internet once he learned who he’d been cast against. He’s funny, too. Argenti knows immediately that the chemistry they’re supposed to have on screen won’t be forced.
--
After the table read, the two of them run lines together in their trailer before filming starts every day. Boothill’s a natural, so inherently expressive, and his delivery only needs fine tuning - though, this is mostly semantics, as the bar for acting in these types of movies is typically fairly low.
Privately, Argenti thinks that Boothill needn’t have bothered starting out in a small film like this, that he’d be ready for a more serious drama or even a theatrical release in no time. Still, he enjoys their private moments playing off of each other. Boothill asks Argenti a number of questions about the plot, to which Argenti has to remind him not to think so hard about it, that it’s to be light-hearted and unserious at the end of the day.
This film in particular is one of the more straightforward holiday plots he’s starred in - his character, Arthur, is lamenting his lack of a beau for the holidays, settles for binging hot cocoa and Christmas movies by himself this year, when suddenly he gets a new neighbor. His neighbor happens to be Matty - played by Boothill - a handsome handyman returning to his hometown to fix up the house his late parents left behind.
In the story, Arthur becomes instantly enchanted by Matty upon their first meeting, when Matty offers to fix a broken flowerbed in Arthur’s yard. This leads to Arthur asking Matty to help with various things around his house, including Christmas decorations. The two characters thus spend a lot of time together and get to know each other, both of them secretly harboring feelings for one another. Eventually confessions are made and Arthur and Matty do get together, thus the best gift of the season is true love.
Boothill cringes a little when he reads the plot notes - Arthur begins breaking things around the house on purpose to find excuses to get Matty’s help. “And Matty just doesn’t realize?” he asks.
Argenti’s laugh is hearty. “I’m sure that he does, but he doesn’t mind the excuse to come see Arthur either. Remember, they’re both harboring affections for one another. Think of it like school crushes - you’d do anything to spend time with the one you like, wouldn’t you?”
Boothill flounders, blushes, and Argenti laughs again. “It seems you understand the feeling quite well. That’ll be helpful when we film.”
He thinks to himself that the more time he spends with Boothill, the more he, too, understands where Arthur is coming from.
--
Oddly enough, one of the first scenes they film is the climax of the film, wherein the two leads stumble into their first kiss and feelings are shared freely.
Arthur had asked Matty to help him string up his holiday lights on the roof. The scene starts with Arthur in the kitchen, making hot cocoa for himself and Matty for when the handyman takes a break. He hears a shout and rushes out the front door in time to see Matty hanging slightly off the roof, upside down, legs tangled up in the light strands.
Boothill had been excited to film this scene, told the director immediately he wanted to see the suspension rig. Argenti had watched fondly as Boothill’s eyes lit up at the prospect of minor stunts that wouldn’t push his body too hard.
As worried as Arthur is, he can’t help but laugh at how ridiculous Matty looks hanging there. Matty frowns, which prompts Arthur into another laughing fit.
“What? Do you not like my Spiderman impression?” Matty pouts, and Arthur comes closer, a mischievous smile playing on his lips. They’re at the perfect height where Matty’s head, upside down as it is, lines up with Arthur’s.
“That depends - do you like my MJ impression?” His voice is soft, reverent, and then he’s reaching a hand out, cupping Matty’s jaw, and leaning in. The kiss is clumsy, light and sweet and barely there, but it’s meant to be a pivotal moment that tips the characters into becoming a couple.
Argenti has kissed plenty of people - it’s part of the job, but - despite the chaste nature of this kiss, he feels a spark. He’s not naive or unprofessional enough to equate this scene with kissing Boothill, but he admits it’s a nice idea. He thinks he’d like to have the chance to try this outside of filming.
--
He and Boothill haven’t talked about relationships, Argenti’s not even sure if Boothill likes men, but he’s never been one to be shy. While he isn’t one to flaunt his relationships publicly, he’s had dalliances with and has even briefly dated his co-stars - both men and women. He knows how to maintain a working relationship in spite of personal relations, but he pockets his feelings for now, waits a bit longer for the right time, for something.
In the meantime, he and Boothill hardly spend any time apart for the duration of filming. It’s a solid two weeks of running the script, their schedule not allowing for reshoots due to time constraints and pushing the film out rather quickly for the Christmas season. The two of them are dutiful, running lines, practicing face work, and just generally forming a friendship off-screen that certainly won’t hurt the chemistry on-screen.
There’s one evening where they stumble out of the trailer long after most of the crew has gone home for the night. Argenti suggests they grab food together, and recommends a small restaurant not far from the set. Boothill calls them a cab and they chatter about premiere plans, Argenti suggesting designers for his suit. Their conversation flows easily from topic to topic, not stalling even as they’re seated at the restaurant and the waiter takes their order.
Eventually, the topic of dating does get brought up - Boothill nonchalantly suggesting that Argenti probably has tons of admirers and suitors. Argenti laughs softly but corrects him; while he’s had plenty of suitors, no one has really caught his eye beyond short-term flings and the occasional romance with a co-star that fizzled as quickly as it started. Boothill seems shocked, which makes Argenti even more curious about him.
“And you? Do you date much?” he asks, and Boothill chokes a little on his wine, clears his throat.
“I, uh. Can’t say I’ve had the opportunity, really. Stunt work takes up a lot of time and most people get a little scared of a risky job like that.” Boothill tugs at the collar of his shirt and busies himself with another sip of wine, but Argenti can see the faint blush dusting his cheeks. He smirks and decides to press the subject a bit more.
“It sounds like if you found someone who didn’t mind the risk, you wouldn’t be opposed to having a partner. I suppose then it would come down to if anyone catches your eye, hm? What’s your type, anyway?”
Boothill’s eyes flit to his, then he’s looking away again and reaching for a piece of bread. “That’s a - a little bit personal, don’t you think?”
Argenti rests his chin on his hands, tilts his head to give Boothill a soft look. “My type is someone who can make me laugh and keep up with my energy. Bonus points if they’re cute and confident.” He watches Boothill like a predator might watch its prey, waits for him to catch on.
Boothill blushes again, cheeks darkening even more, and he downs his wine before he looks Argenti in the eyes, something glinting in his gaze. “I’ll keep that in mind.”
--
The day before filming wraps up, Argenti and Boothill are working through a few scenes of the overarching plot to the film - the town’s famous Christmas village display short circuits and a few of the display homes burn and spark panic amongst the residents, so Matty swoops in to save the day, fixing up the damaged displays and reworking the electricity so that the display can be lit up in its full glory.
The film ends with the town’s residents gathering to celebrate the season, and this includes Arthur and Matty sharing a sweet moment as the mayor lights the tree and the village display. As Argenti and Boothill walk through their trailer door to enter the set, a crew member wolf-whistles and prompts the other cast and crew milling about to do the same. The two of them look at each other, then back to the crew, confusion painted on their faces.
“Kiss, kiss, kiss!” someone starts shouting, and soon the whole room follows.
Argenti looks up and huffs out a short laugh. “It seems someone on set has a sense of humor,” he says, nudging Boothill to look up at the sprig of mistletoe hanging in the doorway. It’s not even August yet, and he’s honestly not sure where the person was even able to procure mistletoe this early.
He expects Boothill to blush and stutter, ready to tell him that they don’t have to partake in such silly games, when he’s suddenly dragged in and warm lips press against his. It’s brief, and Argenti’s so taken aback that his eyes stay wide open even as Boothill’s flutter closed. He doesn’t have time to linger on the feeling before Boothill is pulling back, nodding once at Argenti and then heading down to the set.
Argenti stands there, flustered, and brings a hand up to touch his own lips. He’s stupified, heart caught in his chest, and it isn’t until Boothill calls for him, waves him over, that Argenti remembers where he is. His heart kicks back into gear and he makes his way over, smoothing his face and mentally shifting into actor mode. They’ll have to talk about this later, but for now he’s got a job to do.
--
They don’t get to talk about it until filming is finally over, after everything. They’re so busy with final scenes, small reshoots that couldn’t be helped, and then Argenti has voiceovers to record. After all is said and done, it’s been a week since filming wrapped up and he’s finally free, which means it’s been a week since Boothill dragged him into that kiss under the mistletoe. He’s got one last night in his hotel and he’s sure the same is true for Boothill, then they’re both presumably flying out to go home.
He doesn’t know where home is for Boothill, and despite knowing the premiere will bring them together at least once more, he doesn’t want to risk not chasing whatever has been brewing between them. He thinks about texting Boothill, decides to call instead.
Boothill picks up on the first ring, sounding just a tad out of breath. “‘Genti,” he says, and Argenti’s heart clenches. “What’s up?”
“Boothill I -” Argenti pauses, frowns a little. Does he want to do this over the phone? For a moment he considers not bringing it up at all, a new fear of having read the situation all wrong and somehow fumbling their friendship. He swallows the thought and pushes on. “I was wondering if perhaps you were interested in grabbing dinner tonight?”
Boothill is silent for a long moment. Argenti wonders briefly if he’s already messed up and then – “‘s that all? I was startin’ to think you were gonna ask me out on a date finally.”
This time, it’s Argenti who sputters. “I –” He hears Boothill laughing on the line. “Is that… Would you be opposed if I said I’d like to take you to dinner tonight? As in a date?” Real smooth - somehow Boothill has scared off all of Argenti’s bravado.
Boothill’s laughter turns into softer chuckling, fondness seeping through even over the phone. “I reckon I’d like that very much, actually.”
--
Boothill took Argenti’s suggestions for tailors and designers to heart, evidently. He refuses to let Argenti see him until his look is put together, despite them getting ready at the same place. Argenti attempts to pout his way into allowance, but Boothill holds firm.
“Nu-uh, you get to see me when everyone else does. Now go on and get all dolled up,” Boothill says, pressing a sweet kiss to Argenti’s cheek before shoving him out the door.
Argenti huffs but goes, finds his stylist and lets her get him ready for the premiere of their movie. It’s a small event, mostly just for the network, but it’s Boothill’s first on-screen premiere and Argenti had insisted they make the most of it.
They’ve been seeing each other for a little over three months now, had informed the network a few weeks before the premiere, and someone had let their status as a couple slip to the press. He and Boothill had both been prepped and walked through potential questioning, were given optional talking points and answers if they didn’t want to answer outright.
Argenti’s not nervous - he’s already been out publicly with men, but this is Boothill’s first public relationship, his first on-screen role, his first premiere, and Argenti doesn’t want anything to take away the joy of the night.
When his stylist pushes him lightly out of the chair, tells him he’s as good as he’s gonna get, Argenti grins at her and straightens his tie, heads for the door. When he knocks on Boothill’s dressing room, his stylist comes out and gives Argenti a knowing look.
“He’s already headed down for the carpet; he said you could meet him down there.”
Argenti puffs out a breath and bites his lip. “Thank you,” he says, remembering his manners. He heads down, takes the elevator and taps his foot impatiently. It’ll be his first time seeing Boothill in a suit, and he’s interested, dammit.
When he makes it to the first floor, there’s a hoard of people milling about but it’s easy to spot Boothill’s head in the crowd. Argenti grins, determined, and sets off. When he makes it to him, Boothill is chatting lightly with some network executive but he turns and offers Argenti a brilliant smile.
Argenti’s breath catches at the sight of him. Boothill’s hair is pulled into an artfully messy fishtail braid that sits on his shoulder, a few strands perfectly pulled out to frame his face. His suit is black velvet with the smallest pinstripes woven throughout in red glittery thread. Tucked into his breast pocket is a rose that matches Argenti’s hair perfectly and compliments the white carnation tucked into his own jacket.
Shaking himself from his stupor, Argenti greets Boothill with an equally beatific smile and pulls him in for a quick hug, pressing his lips briefly to Boothill’s temple. “You look stunning, my dear,” he murmurs, just loud enough for Boothill.
Boothill laughs softly. “Ya think? Ain’t ever been this dolled up in my life,” he replies.
Argenti yearns to kiss him properly, to show him just how good he looks, but alas, they’re in public and they’re set to walk the carpet soon. He settles for humming in confirmation and settling a hand on Boothill’s lower back when they part.
They’ve already been cleared to walk out together, and so they link hands and ready themselves to step into the fray. Argenti squeezes once, Boothill squeezes back, and together they make their debut.
--
“I guess you could say we were able to find some holiday magic of our own while working together on this film,” Argenti says finally, and the girl, Keira, nods gently for him to continue.
Argenti looks over at Boothill again, who waves at him cheerily. “When you find the right person - someone who understands the life you live and the challenges that can come with it - you just know.”
Keira offers him a sweet smile and thanks him for his time, before she’s folding back into the sea of journalists in front of the carpet.
Argenti turns, starts to look for his agent, when he’s tugged and drawn into a warm body. He smiles when he sees familiar hands around his waist, and then he’s turning into that body, placing a hand on Boothill’s shoulder and gazing at him lovingly. Once again, Boothill surprises him when he drags Argenti into a kiss - a soft thing, just a firm press of lips against lips, but Argenti feels the love, the gratitude, the affection that Boothill pushes into it.
He feels his own lips curl into a smile against Boothill’s, and then they’re parting, the sound of the journalists cheering and the sight of multiple flashes going off all at once bringing them back to the present. Argenti gives Boothill a grin, which Boothill returns, and then they’re linking their hands and waving at the press before they head in to watch the film together for the first time.