hairlines and noses that had been broken more than once while playing pro football.
âTony Foster?â
âYes, sir.â
Lying flat on the desk, the huge hands covered a good portion of the available space. âYouâre the set PA?â
âYes.â Tony found himself staring at the manicured fingernails and had to force himself to look away. Theyâd met three or four times since heâd started working for Darkest Night âTony couldnât decide if CB really had forgotten him or was just trying to screw with his head. If the latter, it was working.
âYou did good work last night.â
âThank you.â
âA man who thinks quickly and can get the job done can go far in this business. Are you planning on going far, Tony Foster?â
âYes, sir.â
âThink quickly and get the job done.â The dark eyes narrowed slightly under scant brows. âAnd keep your tongue between your teeth; thatâs the trick.â
A warning? Or was he being paranoid? If I havenât said anything yet, Iâm not likely to start talking now seemed like an impolitic response. Tony settled for another, âYes, sir.â
âGood.â One finger began to tap a slow rhythm against the desk.
Was he being dismissed?
âSo. Get back to work.â
Apparently.
âYes, sir.â Resisting the urge to back from the room, Tony turned and left; walking as fast as he could without making it seem like he was running away.
He stepped back into the production office as Arra emerged from the kitchen, a pale green mug cupped between both hands. Their eyes met.
And the voice in his ear breathed a name he didnât quite catch.
What the . . . ? Flicking a finger against his ear jack, Tony bent to adjust the volume on his radio, wondering where the hell the barely audible voice was coming from. He had to be picking up bleed through from someone elseâs frequency.
When he looked up again, Arra was gone.
âTONY? WHERE THE HELL IS CATHERINE?â
With Adamâs unmistakable bellow echoing inside his skull, he cranked the volume back down. âIâm on my way back to the set, Iâll get her.â
Amy glanced up from the photocopier as he passed her desk. âWhat did the boss want?â
âAre you planning on going far, Tony Foster?â
âHonestly?â He shrugged. âIâm not really sure.â
Mason Reed, in full Raymond Dark, was standing just inside the soundstage door. He jumped as he saw Tony, turned the movement into an overly flamboyant gesture, and snapped, âThe girl is not on the set.â
âAdam told me. Iâm going to get her now.â
âI was looking for her.â
Tony had no intention of arguing with him although it was obvious heâd been having a quick smokeâthe gesture hadnât waved off all the evidence. Legally, he couldnât smoke on the soundstage, but the whole crew knew he did it whenever he had a break but not enough time to return to his dressing room. Stars didnât stand outside in the rain with the rest of the addicted.
Used to skirting Masonâs ego for the sake of the shooting schedule, they ignored him for the most part, accepted his lame excuses at face value, and bitched about it behind his back.
Mason, who seemed to think no one knew, maintained a carefully crafted public image of an athletic nonsmoker making sure he was photographed on all the right ski hills and bike trails.
Actors, Tony snorted silently, as he walked back toward the auxiliary dressing rooms. Itâs all âfool the eye. Donât look at the man behind the curtain.â
He rapped against the plywood door, knuckles impacting the strip of duct tape at about the middle of the Catherine.
No answer.
About to call out, he discovered he had no idea of what her actual name was. If he thought of her at all, she was just Catherineâher actual identity wiped out by the bit
Benjamin Blech, Roy Doliner