Chapter 21

Ruth had laid the dining table and had put out some plates. We went and sat down as she brought out some sandwiches and poured tea. The talk was light, with some idea of a timeline. I would be able to work at it after we tidy up ‘Thirteen Women’. I still wasn’t sure about the sequel.

David asked what I had planned, and I told him that we would be attending a Fan Club party at the school, on Saturday night. The following weekend was the wedding, which they knew about, having been in the select few who had been asked. The week after that, Jeff and I would be flying to Florida.

David looked as if he was thinking hard.

“Florida? Honeymoon?”

“Tony Hampton has asked me to go to Tallahassee early, so that we could look at the locations that have been found and talk about the general feel of the film.”

“I thought that Kym was doing some direction?”

“She was talking about it, but I think she has decided that she would concentrate on the writing, and let Tony call the shots.”

“Why you?”

“I don’t know. He did see how we set up that screen test that you both saw. He may have been talking to Kym about me.”

“Can you talk about the film, now. The scene we saw told us a lot.”

“Well, it’s called ‘Thirteen Women’. That’s brought home in the opening sequence with the title and stars coming up as Jeff drives his police car to a barbeque to meet up with his girlfriend, played by Samantha. The music is the Bill Haley version of the song. At the barbeque, he’s greeted by me, as her mother, and whoever we have playing the father. The father walks him around to meet the other guests.”

“I can see it.”

“The other guests are the other five families. There’s Kym, her husband, and a daughter. Kym is the owner of a high fashion store, and the daughter is a jeweller, working in the store with another girl who is the daughter of Wanda and her husband. That gives us the two gals who made clothes and the one gal who gives a diamond ring from the song.”

“I suppose the other gals mentioned in the song are included?”

“Right. My husband and I have a bank in the town, and Samantha is a development manager. That gives us the two gals who give money. The two who keep him well fed are Cynthia, her husband and daughter, who have a restaurant. In the song, the last verses are a bit odd. There are three dancing mambo. So, we have Wanda, her husband, and the other one of her two daughters who run a dance hall and night club. The third dancer is Moyra’s daughter. The last verse has three gals ‘Ballin’ the Jack’.”

“What on earth does that mean, unless it’s another way of talking about sex?”

“I did look it up, and there’s one meaning where it is a term for going fast. I wondered if it came from ten-pin bowling where you throw a fast ball straight at the headpin. In the film, we have Belle, her husband, and two daughters who are into NASCAR racing.”

“That fits with Tallahassee and the South, in general. I can see a lot of scenes to make the film interesting.”

“The last family is Moyra and her husband. They have the one daughter and two sons, but she does have a living mother who is the last member of a witches coven. It’s through her that the thirteen women who make up the current coven have formed, but that’s not shown until later in the film. Before that, it shows all the fine ladies, going about their totally lawful lives.”

C.J. asked how the film develops.

“Well, one of the daughters has been hurt by her boyfriend, and the coven decide that they would try out their powers, to see if they can call up some retribution for him. The retribution is hideously fatal, and they realise that they can change things to suit themselves. Over the course of the film, several business rivals, and even old school bullies, are killed through mystic powers. Jeff has a lot of screen time with Kurt, as the young detective, and has gained some inkling into how the murders have occurred, and that leads to the scene you saw. Eric, as the police chief, gets a lot of screen time shmoozing with the six families to ensure his re-election. It ends with Samantha killing Jeff in a hamburger joint with a knife, and Kurt taking over the case. Then there’s a gunfight between the police and the husbands. The witches set up a circle and have disappeared when Kurt enters the room.”

“And the sequel?”

“That’s problematic at the moment. There’s a lot of detail to be worked through, but the basic plot is Kurt on holiday, in England, when he sees some of the coven in habits. I expect that would be Kym, Cynthia, and me, seeing that we have the most interaction with him. The coven is now far more powerful, so the plot does take on a more ‘good versus evil’ slant.”

David smiled, and looked at C.J., who nodded.

“Thank you for that, Julia. It allows me to disregard a couple of projects that have been put our way. It does leave one which would suit you, for a couple of years down the track. What we’ll do now, is to see if we can get Eric on board for ‘Gale’, and then fill out the others with some of the usual suspects. We’ll make an offer, through the agency, for both you and Jeff, with up-front payments. I think that you’ll have a solid body of work before you turn thirty, both of you. We’ll send you updated copies of this screenplay. Thank you for the lunch, but we must get going. We’ll see you at the wedding?”

“Unless you want to turn up at the Fan party on Saturday evening. I don’t know what they had planned but a visit by the director would make their evening.”

“I’ll see what Irene has to say about that. She’s onto me to socialise more and not be too driven. The success of ‘Turbulence’ allows me to sit back and take my time, and it has brought us together. I must have been a right bastard to live with when I was doing my first film. I could have been trying too hard.”

He picked up the draft screenplay, and I pointed out that there were a lot of notes in it that might help, but that I didn’t mind if he disregarded them. They both gave me a hug before they left. When I closed the door and went back to the kitchen, Ruth gave me a hug.

“I heard most of that about the next film, Julia. From what I heard I could see you in America for the Oscars next year.”

“If we are, it will be for ‘Turbulence’. ‘Women’ will be released in time for the following year. Who knows what we’ll be doing by then.”

Jeff and Brendon came home, having ordered a walker, a small rower, and a punching bag. They had added a set of weights and an exercise mat with reinforced area if you drop the weights. They had the sizes, so we went into the rehearsal room to move things around for when they were delivered. When Jeff and I were alone, he kissed my forehead.

“So, how did it go, darling?”

“We had a good talk, and I offered my ideas on how it could go. They took my copy away and said that we’ll get revised copies, each. I’m to play Gayle, and you’ll be getting an offer to play the policeman, in the last twenty minutes. It’s not huge but it does get you into the credits, and they will offer an up-front payment.”

“Wow, another film and I’ve still to complete the first one.”

“Remember, they did see the screen test, so they both know what you can do. Did you read the screenplay for ‘Women’?”

“I’m working through it. I don’t have the memory that you have, so it’s a bit harder. I’ll study it over the next couple of weeks and you can test me while we fly to Florida. It might help to make the trip go quickly.”

During the rest of the week, he read ‘Women’ and I tried to get some sense out of ‘Sisters’. In the end, I decided that it was not very good, so doodled with alternative ideas. On the Friday, Jeff drove me to the office, where we sat in on an interview with Jacquie. She was keen, she was just a couple of years younger than me, and she had graduated with a degree in Business, with a second in computer studies. Once she got over seeing me sitting opposite her, she was level-headed and grasped what it was that we would require. Although she would be working out of the office, I told her that there would be a room for her at the house if needed.

On the Saturday evening, we both dressed as film stars and Colin took us to the party, with Brendon beside him. It was the school that all three of us had been to, many years before, so were surprised when we were greeted by a teacher that we all knew. If we were surprised, it was nothing to how surprised he was to have three of his less likely students turn up with a chauffeur. Colin parked the car and followed us into the school. In the assembly hall, there were a lot of kids, both male and female, but with more females. They had a DJ playing music and there was a good collection of parents looking on.

Sherona and Sharina saw us come in and came over to take charge of our wellbeing. A lot of the kids were in the Fan Club, and a lot had brought posters to be signed. They had arranged a table, with chairs, and I spent some time signing and talking. Several mothers came over with their own posters. When I saw David come in, with Irene, I excused myself and went to lead him in, introducing him as the director of this film, as well as his hit debut. He was sitting by me, signing the film posters, for some time, with a lot of mothers telling him how much they liked his first film.

We had food, a pizza and fast-food delivery, and plenty of soft drink. It was a nice, gentle, affair, and I found myself talking to Irene. She was happy with the new, slower, David. Brendon was having a long talk with the sports teacher, acting as a chaperone. Jim had ordered several hundred new posters, with signatures already printed. As the food was eaten, Colin and Brendon went out to the car and brought them back. It was a picture of the main cast and crew, taken at Waikiki Beach, and had all the signatures, as well as David and Cecil. Kym was next to Kurt and her signature was on it.

“If I can have your attention, please. We have enough of these new posters for everyone, so don’t rush. The are signed in the printing and are of the whole cast. You may notice Kurt’s wife next to him. I can assure you that she does appear in the film, but in the background of some scenes. In ten days, Jeff and I will be flying to America to shoot another film, with both Kym and Kurt playing major roles. It will be a polar opposite to ‘Turbulence’ but will be worth seeing. We’ll be going, now. Thank you all for inviting us tonight. There’s something you should know. Jeff, Brendon, and I all attended this school. We made something of ourselves. You boys and girls can do the same. It only takes confidence that you can achieve your dream. We wish you goodnight.”

The following week was busy. The exercise equipment was delivered and installed. Jacquie had arranged the Burberry photo shoot and we went to London for a long session in their studio. Cynthia and Moyra came around to supervise me for the wedding. I hadn’t even chosen a wedding dress. They took charge and took me to our dress supplier, where I ended up with something in white that I could also wear on a red carpet. I was now almost bruise free, so it was more revealing than anything else I’d worn before, except that wide, red belt I had worn some time ago.

On the Saturday morning, I was in the salon with them covering over any remnant colours. The wedding was in the afternoon, and Jeff had gone off with Larry to get ready. Colin drove me to the church, with Brendon alongside him and Moyra beside me as my only bridesmaid. Jim was there to walk me down the aisle, and Mum was in the church with Bert. Agnes had a photographer, who jousted with our own professional for the best angle. The church was full, and there were a lot outside, including a lot of the Fan Club. Jeff had organised a large screen outside, with a single camera looking at the main area in front of the altar.

It was a lovely ceremony, and we went to the village hall for a reception. That was an informal affair, with a buffet that was kept loaded. I’m sure that everyone ate and drank their fill. After some impromptu speeches, Colin drove us away, but only back to the house, leaving the others to continue the party, which, we were told, went into the early hours. At the house, we went into the master bedroom, to undress and make genuine love for the first time, now I was ready for him. Once again, he didn’t disappoint. It was so nice, we did it again, later in the night.

On the Tuesday, we each packed two cases, and Colin drove the four of us to London. We would be staying in the airport hotel overnight, with an early morning flight to New York, in the old airline. After that it was a local carrier to Tallahassee. On the first flight, we were all in First, with a flight and cabin crew that I had flown with, so we had a wonderful time. The local flight had us in their business class. It gave me the chance to quiz Jeff on his knowledge of the film. He had much of it in his head, but I still wasn’t sure how he would go when we started shooting scenes from all over the screenplay.

When we arrived, there was a stretch limo waiting to take us to our hotel. Tony was already there and welcomed us in the lobby. He had his main cinematographer, and three other cameramen. He told us he already been scouting the locations.

We were shown our rooms and changed for dinner. It was the same hotel that we had stayed in when we were on our way home, so I knew where to go. Larry and Brendon were looking around, in wonderment, at the level of luxury, as well as trying to understand what the staff were saying. My months in Hawaii had let me get used to the speech patterns and accents, so I could let them know what had been said if they didn’t get it.

We had a good meal, meeting all the other members of the crew, and had an early night, as Tony said we would be on the road directly after breakfast. It was odd, in a strange bed for the first night, but we did get some sleep. We had breakfast in the room, showered and dressed for what looked like nice day. Down in the lobby, we found the crews waiting for Tony. When he arrived, he looked a little pasty, but hurried us outside. Larry and Brendon were having a few days off, seeing that we were surrounded by guys, and I was sat in the back of Tony’s car with him, as his driver looked a list of addresses and left the hotel.

Jeff was gazing out of the window at all the older buildings. He said how beautiful they were. Tony answered that this was why we were here. At the first location, we didn’t take long for him to show me the sightlines that he wanted. I stood where he indicated and took a picture on my phone. The day carried on in a similar fashion. We would stop, get out, discuss the view that he envisaged, while the crew would get out of the coach and look at mounting points for the cameras.

We stopped for lunch at the Whataburger, the site of Jeff’s demise, and they let us look at the back rooms where we would film. It would be tight, using a hand-held, but that would give the noir look that the scene needed. The detail stuff would be done in the studio. The set builders had already taken photos and measurements.

I could see all the vision that he had, but wondered at why we were doing this in such a fashion. The second day was much the same, and the third saw us inside some of the public buildings. The fourth day we were in private homes where the owners were going to allow us to film. We saw the big room, once a ballroom, where the final scene would take place. We saw the garden where the first scene opened the body of the film.

I was taking it all in, like a sponge, and Jeff was beginning to fit the words into the physical spaces. On the Tuesday, Kym and Kurt arrived and we had a small meeting. It was in their suite. Kym asked Tony how it was going.

“It’s good, Kym. Julia is a natural, she’s taken it all in and has asked all the questions I hoped she would. She’s good for what is needed.”

I mentally put my hands on my hips.

“So, what’s needed. Why all this crash course in looking at locations?”

Kym nodded at Tony, who left the room.

“Julia, you must have noted how Tony has looked since you’ve been here. The reason that he’s been showing you around in such a manner is because he’s quite ill. He has a problem with his digestive tract that makes it difficult to get any goodness out of his food and he’s slowly wasting away. I’m asking you if you will be in charge, directing all of the scenes where you’re not involved. Tony will direct the ones with you featured, but then has to go to a specialist clinic. You will do the studio as we discussed. If Tony is well enough, he’ll be involved with post-production. We’ll give him a few days, and then we’ll hit the ground running, with all the scenes with you. Seeing that the story is spread over the six families, it works out to about ten days filming, and then you’re in charge. I’ll be still the scriptwriter, but won’t tread on your toes, so that the rest of the cast know who to listen to.”

Kurt put his hand on my arm.

“Julia, Tony is an old friend. He’s been with us for a lot of films, and this is a shock to all of us. We can’t postpone the filming; we have crew and support booked. The costumes and the rest of the cast arrive tomorrow, and the filming has to start. You will get paid extra, with a percentage of gross over the up-front payment, but if there are any awards for cinematography, they’ll be in Tony’s name, having done all the groundwork. You will get credit for second-unit direction. I’ve read the medical report, and it’s possible that it will be you who goes up to collect his Oscar. What do you say?”

“What can I say? It’s a big responsibility, out of the blue. I still can’t see why you think I can do it.”

“We’ve watched how you get the tempo of the story, no matter how haphazard the filming. We’ve seen you pass on that knowledge to others on set. We saw how you directed Jeff and Eric in that one scene. It could be your training as cabin crew, but you soothe people’s fears and let them do their best work. We’ll set up a meeting with all the camera and sound guys, tomorrow, and tell them what’s going to happen. We’ll have a cast meeting when they’re all here, to see who has read the screenplay and know their places. Then we start working.”

“All right. I’ll try to not let you down. I will warn you that I have some of my own ideas about some of the character agendas.”

I went and found Jeff, to let him know what will be happening. He was astounded.

“They get you here and drop that on you at the last minute. I hope they pay you some more!”

“It’s all good, darling. Together we’ll make this picture a winner.”

The next day, we had the meeting of all the crew members. Those who had worked with Tony could see how ill he was. We all voted to make him proud of the film. Tony told them that I had been shown the visions, but it was up to me how I used them. The cameraman and sound guy, who had seen the screen test, told the others that they were happy to follow my directions, and the meeting broke up in a positive mood.

When we had the cast meeting, it was only Eric and Jeff who had seen me in action, as well as the rest of the girls that had been in Hawaii. Both Kurt and Kym told them that when I was directing, listen to me and not any negative thoughts. We would be filming the scenes in a very haphazard way, but they told the doubters that I had a handle on the whole screenplay. A few of the guys who were playing the husbands weren’t sure, but Eric stood up and gave a nice speech about my talents. Coming from a revered member of the industry, they were mollified, for now.

After that, the work started. We did the barbeque scene first, with the bit with me being shot first, followed by a scene where all the wives get together to plan a ‘meeting’. After that, it took two days while Tony filmed the scenes where Jeff is introduced around. I had changed and was out with the second unit, filming scenic vistas, that would be blended into the story as the characters arrived at the locations. We knew what we wanted, and it went well. I got to know all the guys and they got to see that I wasn’t changing everything.

As the barbeque scene was the main one with most of the cast present, we worked on my remaining, smaller scenes next, including the coven gatherings, and wrapped those up in eight days. Tony went around with handshakes and hugs, and a limo took him off to his flight, which left it to me. Over the next eight weeks, we did all the work we could in Tallahassee. Larry and Brendon were added to the payroll as my assistants, and even started being able to understand the local dialect. Those of us in the cast had been seeing a vocal coach since we arrived but didn’t have to try for the ‘full southern’ - just a more genteel version, which was easier once you got the hang of it in relation to the script. Most of the lesser roles were American, so their vocals fitted the scenes.

Just on three months since we arrived, we ate our last cheeseburger and packed to go home. I had another two months in the studio, with the other actors coming in as they were needed. I would have both units to work with, so could do more than one scene a day. In the end, Kym’s screenplay lasted well, with the only changes being made by her on the run. I had overcome any reticence in the cast, with my ability to tell them about the scenes prior, and the scenes after, that allowed them to get the tempo of the one they were in.

When we arrived at the house, in a pair of limos, it took a while to unload our bags and settle back in. Colin and Ruth had been busy while we had been away, getting some redecorating done to suit a star, rather than a footballer. It was much more neutral, rather than having rooms in his club colours. The weather was still reasonable, so we planned a garden party for those of the cast who could come, as well as the Fan Club and the agency.

I think that I enjoyed that more than the cookouts we had been eating in Florida, with good old British sausage and chops being wolfed down, along with some local beers. Those of us who had been in Florida were asked what was our favourite scene. Mine was still the one between Jeff and Eric. They had nailed it in the actual police chief’s office. Brendon and Larry loved one of the murders, just like guys.

That one happened during a car race. We had hired the Daytona track to film this. We had three cars made, all identical and all radio controlled with a camera looking out over the dummy in the driving seat. The scene had the coven getting together in the pit and concentrating on a vital part of one of the cars. The story was that the Belle’s husband was leading the second pack of cars, but his rival was about to put a lap on the pack, so relegating the family car to second place and costing them points in the driver standings. We had about twenty genuine NASCAR cars and drivers. The first car we wrote off was just steered off the racing line and into the wall. It just didn’t look accidental enough. With the second car, we rigged an explosive to the inside back axle, with the back wheel blown off.

That caused it to spin and slide into the wall backwards and then roll along the track. It was good, but I knew we could do better. The third car had the explosive on the axle and another in the back of the car, next to some plastic bags of high-octane petrol. When we did our last take, Brendon was allowed to press the first button, on my call, with Larry pressing the second at the point of impact. That one would be the one we use.

Marianne Gregory © 2024