Chapter Text
Another movie with the star himself, Tom Ryder. Despite your mixed feelings about the guy you shall still deal with his incompetence. Gail got you a pretty good contract afterall, it would be a shame to waste her effort. And you do feel like you owe it to Colt to work closely with Tom after he introduced you to your current producer.
Currently you observe while removing your make-up as Tom Ryder throws another fit and sneers at the make-up artist over one thing or other. Working with him as your permanent co-star did make you realise he is an asshole. A complicated asshole is a more fitting description. Despite his clear distain for the crew he does have loyalties towards you, Gail and Colt. You suppose it does make sense considering that Colt was the one that introduced you both to Gail. It was during your's and Tom's first roles in a blockbuster. As extras of course, but being listed in the credits felt like success never the less. He was different back then, when he was starting his career alongside you, you still see flashes of old Tom under his current famous persona. It's why you can't let him go, despite his utterly ridiculous attitude and disrespect towards the crew, he still values you. Albeit his way of showing appreciation is questionable at best, although he does have his moments.
As the makeup team works on his face you spot Gail walk into the make-up trailer. Admittedly despite her being significantly older, you find her attractive and may have developed quite a crush on your producer. It's quite ridiculous, everyday you see her as the harsh and cutthroat producer that she is. The comparison between her demanding nature with the crew and her dedication to you and Tom's career form quite a stark contrast. It's difficult to distinguish whether the care and attention you receive from her is personal or purely professional. It's hard to tell with Gail, despite years of working with her. In contrast Tom is easy to read, especially after he reappears after a night of his drunk esapades, but after seven years you still yet to have fully understood Gail.
You snap out of your trance as you see Gail approach you and Tom with a clip board.
'Tom the director is asking to do another shot, they need you in ten.' She tells him.
He rolls his eyes in response and shoots a last lingering glare at the make-up team before leaving. In response they quickly scurry to the sides and leave the room. Quite a common practice as they don't want to risk loosing their jobs due to one of Ryder's moods. This leaves you with Gail who raises a questioning eyebrow at you.
'I agreed to wait for him to finish the shoot.' You offer as an explanation to what you assume her expression meant.
'Jody requested you tomorrow to discuss the stunt sequence with your double, oh and she insisted on cast karaoke or something after today's shoot.' She waves her hand dismissively at the thought of karaoke.
'Not a fan of karaoke?'
'Oh I just love people butcher my favourite songs in their whiny voices, but I told Jody I'd be there. ' she scoffs as if offended by the idea of having to be there as her brow scrunches.
You can't help but notice her tight expression and stiff posture. Despite not being able to read her intentions, you are great at body language. It is a skill that comes with acting, having to express emotions on screen helps to understand them on others. Despite not being a producer you can understand the stress she must be under, especially with the continuous PR scandals that come with dealing with Tom Ryder. You wish you could massage that stress away, kiss her lips and see her scowl melt away. Kiss her neck and see her melt under you, it's a tempting thought to witness someone like Gail relax.
She clears her throat which breaks you out of your trance. Instead of voicing those thoughts you just unashamedly had about your producer you turn gour gaze back to her.
'You seem stressed.' You state as she watches you expectantly for a response.
You offer her your seat and she sits with a heavy sigh. Her curly hair spilling over the back of the seat as she leans her head back.
'Just a long day of dealing with absolute morons, what do I even pay them for if I have to do everything myself?' She takes her glasses off and rubs her eyes.
You're used to her tired ramblings after a day's shoot. After seven years of working together with her and Tom there comes a point where she begins to be more open. Whether that's out of friendship or routine has yet to be determined. You do consider her a friend of sorts, the long shoots and meetings spent with her made you two grow close. This made you see her differently than most crew on set. While you do acknowledge Gail as demanding and extremely assertive you also can see the toll the job takes on her. It's hard to put a label on her, this makes your unruly feelings all the more ridiculous. Each time you try to convince yourself out of this crush on the woman you remember the late nights spent together revising the script. Or the instances of her bringing food not only for herself but for you while you sat in her trailer discussing another PR disaster.
'Not excited to have a drink with Jody when you go to karaoke?' You reply after a long pause, letting her rest.
'Do I look excited? I have a new stunt double to look for that's actually compatent to replace Colt. And if I am lucky and find one I need to get him to sign the damn contract. Do you know how difficult it is to get a freelancer on a contract?' She takes a breath
'I do not have time for karaoke.' She states plainly .
After Colt's accident Gail has been on a hunt for a competent stuntman, this has proven quite difficult considering the extreme stunts Jody has planned for Metalstorm. Last time Gail mentioned this guy named Henry who seemed capable. After his accident it was almost like Colt disappeared from the face of the planet. Despite knowing Colt for years he did not reach out to anyone on set, likely changed his number.
You reach for her shoulder hesitantly, wanting to offer comfort but unsure if she'll accept. As your hand touches her shoulder she winces and you pull away.
Before you apologise she sighs and says 'Stiff shoulders that's all, been hunched over a desk looking at contracts last night.'
You offer quicker than your brain can catch up 'Want me to help? I don't mind giving a quick massage.'
She raises an eyebrow in response and you stare blankly, afraid of the reaction to your stupid question. In your mind you hope that your face has not turned the colour of a tomato and that the heat yoy feel in your face isn't visible. After a moment of hesitation she turns in her chair exposing her back to you and moving her brown curls to the side.
You nervously place your hands on lapel of her blazer and pull it back slightly. This exposes her bare shoulders with only the straps of the tank top remaining. You place your hands on her bare skin and start kneading the area around her neck. She hangs her head back slightly and slumps down in the chair. You look over her gorgeous relaxed form and admire her softened face. The massage continues in silence as you rubs her shoulders and move to rub to base of her neck.
You wish this moment could last forever as you glance at her closed eyes and the way her curls frame her face. Your heart feels lile it's about to leap out of your chest as you gently stroke her hair with one hand. She however doesn't seem opposed to the action, only leaning her head further back so more of her hair splays on the back of the chair. Despite years if working together she never let you take such care of her. Usually it's her managing yours and Tom's schedule down to the second and resolving every problem. The woman is married to her work but it is nice to see her so relieved and taken care of. You could do this everyday if only she asked. Even if she only sees this as platonic or just a favour from a coworker you'd still do this.
You think back to your introduction after the first successful film. Colt had give you and Tom Gail's contact. He was quite a good stuntman back then too. During the first year of working together before the major breakthrough Gail was the one advocating to the studio to get us both signed on contracts. Although her determination was purely professional she is an excellent producer, especially when it comes to fixing Tom's messes. It's hard to come to terms with pining for Gail while knowing that her care and attention could be purely determination to boost mine and Tom's career. Although considering the fact that she is allowing this massage it must be a sign that we are at the least good work friends.
My train of thought is interrupted by a knock on the trailer door which forces Gail to sit upright, pulling away. The door then opens to reveal one of her personal assistants practically trembling as she shoots them a raised eyebrow.
'Tom is calling for you Gail' they respond anxiously, presumably aware of her previous foul mood.
She stands hesitantly and follows them out, at the door she looks back and asks 'Continue this later?'
Nodding in disbelief you watch her leave and close the door behind her, processing what she just asked while a surge of excitement passes through you at the thought of getting to touch her again.