58. Chapter Fifty-Eight
And the meteorologist on the morning news says, “Don’t get too comfortable with the weather. It’ll change on a dime. But change is good.”
* * *
I hear the doorbell, then I hear Loki. My room is still dark, the blinds drawn. A moment later I hear another dog barking, and that causes Loki to bark more. Then, there are voices. Milo is still home.
I sit up in my bed and run my hands over my face. The clock on my nightstand says it’s just past seven o’clock.
My head is fuzzy as if I drank all night. Truth is, I stayed up until early this morning working on a new book. It was as if the words wouldn’t pour out of me fast enough after I left Christina’s house. Talk about a muse.
The knob on my bedroom door turns and the door opens. A moment later Loki prances in, followed by Dolly.
But it’s the woman that follows them that has my body temperature rising.
The light behind her shadows her face, but I can see her weary smile.
“Hi,” I say, gathering the sheet up around me.
“Hey,” she croaks out the word. “I’m sorry to bust in on you, but...”
“No. I’m glad to see you,” I say, dropping my legs off the side of the bed and rubbing my eyes. “Is everything okay?”
Her breath shudders, and she moves to me. Instinct has me reaching for her, no longer concerned with my state of nakedness.
Christina moves to me, wraps her arms around my neck, and pulls me to her. My cheek rests against her chest, and I can feel her body shake.
“Honey, tell me what happened,” I say, looking up at her.
She’s crying—sobbing—but smiling.
“I quit,” she says on a breath.
“You quit?”
Christina nods. “I quit. I won’t do a movie that my father has money invested in. I won’t be part of something that keeps me away from you. I’ll give it all up if it means I get to be with you.”
“Christina,” my voice comes out accusingly. “You can’t do this.”
“But I can. I did.” She kneels in front of me, taking my face in her hands. “I love you. I don’t know if you still feel the same, but?—”
I take her hands in mine. “I’ve never stopped loving you,” I say, and she sighs.
“I don’t know what will happen. I mean, I might get sued over all of this. But a man who doesn’t even cherish the vows he shares with his wife doesn’t have a right to keep me from the man I love.”
I have to take a moment to absorb everything she’s told me, and it goes much deeper than some stupid clause in a contract.
“You need a lawyer,” I say, reaching for my phone.
Christina eases back on her heels as I scroll through my contacts.
“I haven’t even checked my phone yet. Surely, they’re looking for me. I didn’t go to the set.”
“Let’s go.” I stand, the sheet still wrapped around me. “We’re going to do this together.”
“Do what?” she asks as she stands.
“You’re not going to get fired or sued. You’re going to get your happily ever after,” I promise as a smile lifts the corners of her mouth.
* * *
Amelia Post, the director, comes at us as we walk on set. Her eyes are angry and her hands are fisted to her side. It’s been two days that Christina has missed, and Amelia is understandably angry.
As she raises a finger in anticipation to cut Christina and I off with her words, I reach for her gently.
“We need a word,” I say calmly and softly hoping to keep any reaction from her from stirring those working on the set. “We have some legalities to go over.”
Amelia’s eyes go wide, and she shifts a glance in Christina’s direction and then at the man in the suit standing behind us.
Christina squeezes my hand as Amelia gives us a nod and motions toward Christina’s trailer.
Christina opens the door to her trailer and turns on the light. We each pile in and sit in the cramped space.
“There’s a lot to unpack right here,” Amelia says looking around the room. “You two are together?”
“We are,” I say.
Amelia worries her lip. “Christina, your contract?—”
“Is something we need to discuss. Kirk McDonald, counsel for Ms. Malloy,” my lawyer says as he sets down the contract amendments he drew up for us. “As of this morning, Charles Malloy Productions has pulled out of production.”
“I’m sorry, what?” Amelia asks, gathering up the paperwork.
Christina rests her hand atop Amelia’s, directing her attention up to her.
“I’ve cut ties with my father,” she says.
“Christina, I don’t want to be part of some family drama.”
“My family drama will not affect production. My family drama will stay within my family.”
Amelia looks up at me and then to Kirk. “If my producer has backed out, I’m screwed.”
“We have a producer in place to take over,” Kirk says as he sets a packet of papers on the small table. “Though production might be extended as we get everything in place, the movie is in safe hands.”
Amelia studies the papers in front of her. “King of Mischief Productions? I’ve never heard of it.”
I smile down at Christina. “It’s my production company,” I say, looking back at Amelia. “I’m ready to step in and make sure everything keeps going smoothly.”
She eyes me carefully. “And exactly how many movies have you produced?”
“Well, this will be the first, but I assure you, I have a qualified team of associates and investors.”
Amelia puckers her lips. “Is this all so you two can be together? I saw the contract. That clause that was added about you two was asinine.”
Christina looks up at me, grinning. “It’s a bonus, that’s for sure,” she says. “And my father has a lot going on in his life. This movie and crew are not so important right now.”
Amelia studies Christina for a moment and then nods as if she might know what Christina is talking about.
“Well, let’s get a meeting scheduled with the new production company, lawyers, and crew. It appears this production just took a turn for the better, and I’m anxious to be part of it,” Amelia says, and Christina leans against me as if she can finally relax.
Not only will she still get her Penelope Mondragon film, but we also get to be together. This is going to change my plans going forward—well, only slightly, but it’s so worth it. We’re in charge of our destiny, and our destiny is to be together.