Blood Rites (8 page)

"Wrist is a little limp," I said. "If you like I can show you an exercise or something, help you out."

His face twisted with abrupt heat. "Son of a bitch," the man swore, and dropped his bag so he could ball his huge hands into huge fists.

"Whoa," Jake said, and stepped between us, facing the big guy. "Hey, come on, Bobby. It's too early for this crap."

Bobby got a lot more aggressive once Jake was there to hold him back, snarling and cussing. I'd faced too many literal ogres to be too terribly impressed by a metaphorical one, but I was just as glad that it hadn't gone any farther. The kid was a hell of a lot stronger than me, and if he knew more than nothing about how to handle himself, he could ruin my whole day.

The kid subsided after a minute, picked up his stuff again, and scowled at me. "I know what you're thinking, and you can forget it."

I lifted my eyebrows. "So you're psychic too?"

"Wiseass stunt double," he snarled. "It happened
once
. You aren't going to make a name for yourself. You might as well just leave now."

Jake sighed. "Bobby, he's not a stunt double."

"But he said—"

"He was
joking
," Jake said. "Christ, he's newer at this than you. Look, just go inside. Get some coffee or springwater or something. You don't need this on a shooting day."

The kid glared at me again and jabbed his index finger at me. "I'm warning you, asshole. Stay out of my way if you don't want to get hurt."

I tried to keep all the panic and terror he'd inspired off of my face. "Okeydoke."

The kid snarled, spat on the ground in my direction, and then stormed inside.

"Someone woke up with his testosterone in a knot today," I said.

Jake watched Bobby go and nodded. "He's under pressure. Try not to take it personal, man."

"That's tough," I said. "What with the insults and violent posturing and such."

Jake grimaced. "Nothing to do with you personally, man. He's worried."

"About being replaced by a stunt double?"

"Yeah."

"Are you serious? What the hell does a stunt double do in a porno flick?"

Jake waved a hand vaguely toward his belt. "Extreme close-ups."

"Uh. What?"

"Historically speaking, it doesn't happen often. Especially what with Viagra now. But it isn't unknown for a director to bring in a double for the close of a scene, if the actor is having trouble finishing."

I blinked. "He thought I was a
stunt penis
?"

Jake laughed at my reaction. "Man. You
are
new."

"You been doing this work long?"

"Awhile," he said.

"Guess it's a dream job, eh? Gorgeous women and all."

He shrugged. "Not as much as you'd think. After a while anyway."

"Then why do you do it?"

"Habit?" he asked with an easy grin. "Plus lack of options. I thought about doing the family thing once, but it didn't work out." He fell silent for a second, his expression touched with faint grief. He shook his head to come out of it and said, "Look, don't worry about Bobby. He'll calm down once he figures out his stage name."

"Stage name?"

"Yeah. I think that's what has got him all nervous. This is only his second shoot. First one is in the can, but it'll be a bit before they do final edits and such. He's got until next week to figure out his performing name."

"Performing name, huh."

"Don't make fun of it," he said, expression serious. "Names have power, man."

"Do they. Really."

Jake nodded. "A good name inspires confidence. It's important for a young guy."

"Like Dumbo's magic feather," I said.

"Right, exactly."

"So what name do you go by?" I asked.

"Jack Rockhardt," Jake replied promptly. He eyed me for a moment, his expression assessing.

"What?" I asked.

"You mean you don't recognize the name? Or me?"

I shrugged. "I don't have a TV. Don't go to those theaters, either."

His eyebrows shot up. "Really? Are you Amish or something?"

"Yeah, that's it. I'm Amish."

He grinned. "Maybe you'd better come inside with me. I'll introduce you around."

"Thanks."

"No problem," Jake said.

We went on into the building, a place with sterile beige walls and invincible medium-brown carpeting. Jake led me to a door with a computer-printed sign that read, GREEN ROOM, and went inside.

A long conference table ran down the center of a comfortably sized room. Doughnuts, drinks, fruits, bagels, and other foods of every description were laid out on trays down its length. The room smelled like fresh coffee, and I promptly homed in on the coffee machine for a cup.

A plain-faced woman in her mid-forties entered, wearing jeans, a black tee, and a red-and-white flannel shirt. Her hair was tied back under a red bandanna. She seized a paper plate and dumped food on it at random. "Good morning, Guffie."

"Joan," Jake responded easily. "Have you met Harry?"

"Not yet." She glanced over her shoulder at me and nodded. "Wow. You are very tall."

"I'm actually a midget. The haircut makes me look taller."

Joan laughed and popped a doughnut hole in her mouth. "You're the production assistant, eh?"

"Yes."

She nodded. "So let's produce."

"I thought that was Arturo's bag."

"He's the director and executive producer. I'm the actual producer. Makeup, cameras, lighting, sets, you name it. I handle the crew and the details." She turned to me and offered her hand, shaking off sugary doughnut goodness as she did. "Joan Dallas."

"Pleasure," I said. "Harry Dresden."

Joan nodded. "Come on then. There's still a lot to do before we can shoot. Guffie, get to the dressing room and clean yourself up."

Jake nodded. "Are they here yet?"

Her tone of voice became annoyed. "Giselle and Emma are."

There was a moment of silent, pregnant tension. Jake winced and headed for the door. "Harry, nice to meet you. Joan's okay, but she'll work you to death."

Joan threw an apple at him. Jake caught it when it bounced off his chest, crunched into it with his teeth, and held it in his mouth so that he could wave as he left the room.

"Grab yourself some food, Stilts," Joan said. "You can help me put cameras together."

"I was hoping to talk to Arturo before we got going," I said.

She turned around with two plates loaded with breakfast pastries. She hadn't bothered getting any fruit. "You're a funny guy. He's probably not out of bed yet. Bring that box of cookies. If my blood sugar drops too low I might take your head off."

She led me down a short hallway to a cavernous room—a shooting studio. A slightly raised stage held an unlit set, which looked like a lavishly appointed bedroom. Arrayed in a line in front of it were several black plastic crates and a freestanding shop light. Joan flicked it on and started opening crates, popping a bit of food into her mouth every third or fourth movement.

"Nice place," I said.

"Been a bitch," Joan said between bites. "Last company here was supposed to be some kind of computer production deal, but they had to be lying. They redid all the wiring in here, routed in way heavier than they were supposed to have. Took me a week to get things working, and then I had to turn their old gym into something like a dressing room, but this place still isn't up to code."

"Ye canna change the laws of physics," I said.

She laughed. "Amen."

"Engineer then?" I asked.

"By way of necessity," she answered. "I've done sets, lighting, power. Even some plumbing. And," she said, opening boxes, "cameras. Gather 'round, gofer boy; you can help."

I settled down while she laid out parts from heavy plastic crates. She assembled them, several professional cameras and tripods, with the surety of long practice. She gave me instructions as she did, and I did my best to help her out.

There was a pleasant, quiet rhythm to the work, something that I hadn't really felt since the last time I'd been on a farm in Hog Hollow, Missouri. And it was interesting—technology was unfamiliar territory for me.

See, those who wield the primordial forces of creation have a long-running grudge with physics. Electronic equipment in particular tends to behave unpredictably—right up until it shuts down and stops working altogether. Old technologies seemed more stable, which was one reason I drove around town in a Volkswagen Beetle that had been built before the end of the Vietnam War. But newer products—videocameras, televisions, cell phones, computers—would die a horrible fizzling death after any extended time in my presence.

There was a sense of order to what we were doing that appealed to me on some level. Putting parts together, locking them into place, lining up plugs into their corresponding sockets, taping groups of wires together so that they wouldn't get tangled. I did well enough that Joan sat back and watched me work on the last camera on my own.

"So how is this supposed to work?" I said. "What happens next?"

"The lights." She sighed. "The damned lights are the most annoying part. We have to set them up so that no one looks too shiny or too wrinkly. Once that's done, I'll let the technical manager handle sound, and go ride herd on the actors."

"Metaphorically, I hope."

She snorted. "Yes. Some of them are decent enough—like that blockhead Guffie. But if you don't push them into getting things done, they'll never be ready for the set on time. Makeup, costume, that sort of thing."

"Aha. And some of them are late?" I asked.

"Scrump will be," she said. It almost came out a growl.

I pushed. "Who?"

"Tricia Scrump. Actress."

"You don't like her?" I asked.

"I despise that self-absorbed, egotistical little bitch," Joan said cheerfully. "She'll play the princess and everyone else in the cast will know that they don't have to show up on time, or be ready to go on time, or be entirely sober, since Her Lascivious Highness Trixie Vixen will be showing up late to everything anyway, high as a kite and doing exactly as she pleases. I long to slap her silly."

"You shouldn't repress your emotions like that," I said.

She let out a belly laugh. "Sorry. No reason to drag a newbie into old politics. Guess I'm just upset to be working with her again. I didn't expect it."

Aha. Hostility for the porn starlet. That's what we in the business call "motive." Joan did not strike a creepy, murderous
Strega
vibe with me, but I'd learned the hard way that a skilled liar can look innocent right up until she stabs you in the back. I dug for more information like a good investigator. "Why not?"

She shook her head. "When Arturo left Silverlight Studios to start his own company, he made a lot of people angry."

"What do you think about that? The move, I mean."

She sighed. "Arturo is an idiot. He's a kind man, and he means well. But he's an idiot. Anyone who works with him now risks getting blacklisted by Silverlight."

"Even Trixie? I mean, if she's a big star, won't the studio kind of kowtow to her?"

Joan leaned down to check a connection I'd made, shoving the plug in. "Are you on drugs or something? She's a big star with a limited shelf life. They'd replace her without blinking."

"She sounds gutsy."

Joan shook her head. "Don't confuse courage with stupidity. I think she's vapid enough to actually believe she's too important to lose."

"If I didn't know better, I'd say you don't like her much."

"Doesn't matter whether or not I like her," Joan said. "It's my job to work with her."

I watched her set her mouth in a firm line as she started closing cases and stacking them up. I was willing to bet that Tricia Scrump, a/k/a Trixie Vixen, didn't have the same kind of professional resolve.

I helped Joan pick up the crates and tools and stack them against the far wall of the dim studio. She moved briskly, tension and distaste simmering under the surface of her determined expression. I studied her as covertly as I could. She clearly wasn't happy to be here. Could she be gunning for Arturo with some kind of heavy-duty entropy curse?

It didn't track. There hadn't been any hostility when she spoke about Arturo. And if she were a strong enough practitioner to throw out deadly spells, she wouldn't be able to keep up a career amidst so much technology. If she was harboring vengeful feelings toward Arturo, she was the best actress I'd ever seen.

I suppose that could have been possible. But my instincts were sending me mixed messages. On the one hand, they told me that Joan was on the level. On the other, they also told me there was more to the woman than met the eye. Something told me that things were more serious than they appeared—that this situation was even more dangerous than I had originally believed.

It bothered me. It bothered me a lot.

Joan shut the last case and interrupted my train of thought. "Okay then," she said. "Let's get the studio powered up."

"Um," I said. "Maybe I shouldn't be here when you do."

She lifted her eyebrows, evidently waiting for an explanation.

"Uh," I said. "I have a plate in my head. It's a little twitchy around electric fields. High-voltage equipment, that kind of thing. I'd rather come in when it was already up and running, so I can back off if there's a problem."

Joan stared at me with a lot of skepticism. "Is that so?"

"Yeah."

She frowned. "How did you
get
this job?"

Christ, I'm a terrible liar. I tried to think of an answer that didn't begin with, "Um."

But I was interrupted.

A surge of silent, invisible energy swept through the room, cold and foul. My stomach twisted with abrupt nausea, and my skin erupted in gooseflesh. Dark, dangerous magic swirled by, drawing my attention to the studio's exit. It was the kind of magic that destroys, warps, rots, and corrupts.

The kind of magic you'd need to feed a deadly entropy curse.

"What's wrong?" Joan shook me with one hand. "Harry? You're shaking. Are you all right?"

I managed to choke out, "Who else is in the building?"