youââ
Shaking her head, Crash let go of her. âThe script says, âWhat do you think you are doing, Corporal?ââ
Jill stepped closer and half turned so she could look at the script pages Crash was holding. Damn. She was right. Jill closed her eyes for a moment and repeated the line three times to herself, hoping it would finally stick in her memory. âOkay, letâs try this again,â she said when she opened her eyes.
They ran through the lines again from the beginning. Jill attempted to get into the scene, trying out different gestures and inflections. But something was still off, making her stumble over her lines at times.
Finally, she plopped down on the couch and shook her head. âSee what I mean? This isnât working, and Iâm still not sure why.â
Crash sat next to her. âWell, Iâm not an acting coach, and far be it from me to tell a seasoned actress like you how to do her jobâ¦â
âBut?â Jill prompted.
âI think the scene needs moreâ¦fire.â
âMore fire? Thatâs what theyâre running from.â
Crash threw the script down on the coffee table. âNo, I mean more fire from you. More anger.â
âUm, excuse me. Iâm butting heads with an armed soldier, refusing to leave. Iâd think thatâs enough anger, isnât it?â
âYeah, butâ¦I just donât feel it.â
Groaning, Jill let her head fall back against the couch. âDamn. I think youâre right. I just donât get why Lauren wrote the scene this way.â
âLauren?â
âOh. Sheâs the screenwriter who wrote Shaken to the Core . And sheâs a friend of mine,â Jill added after a momentâs hesitation. âI mean, Lucy is a trained doctor. Shouldnât she be calm and level-headed in the face of this crisis? Shouldnât she trust the soldier to do his job, just the way sheâs doing hers? Why get so angry with him?â
Crash seemed to consider it for a moment before shaking her head. âI think sheâs angry at much more than him.â
âWhat do you mean?â When Jill turned on the couch to face her more fully, their skirts brushed and she sensed the warmth of Crashâs knee against hers. Quickly, she moved back a bit.
âYou have to view this scene in context and consider Lucyâs background. I only read bits and pieces of the script while I was waiting for a stunt yesterday, but didnât she grow up on a ranch?â
Jill nodded. âShe did. Her mother was the first female veterinarian in the US.â
âAnd Lucy is one of only eight thousand lady doctors in 1906,â Crash added.
âRight.â To prepare for her role, Jill had read the memoir of one of the first women to graduate from a medical college, so she knew what that meant. âSheâs a woman living and working in a manâs world.â A thought occurred to her. âJust like you.â
âThings are much easier for stuntwomen nowadays, but Iâve heard some stories from women who used to be in the business twenty or thirty years agoâ¦â Crash shook her head. âLetâs just say I understand why Lucy wouldnât react too well to being ordered around when sheâs trying to do her job.â
Jill looked at her with new respect. She hadnât expected Crash to be able to provide such insights into her character.
Crash laughed. âWhat? You thought I was all brawn, no brains?â
Jillâs cheeks warmed, and she cursed the fair complexion she had inherited from the Irish side of her family. âWell, far be it from me to underestimate your intellect, but I think Ben hired you for your athletic skills.â
Crash let out an exaggerated sigh. âStory of my life. People just want me for my body.â
A wittyâand slightly flirtyâreply was already on the tip of her tongue, but Jill bit it back. Back to work.