Page 103 of Friends with Benefits

How is Imogen so optimistic?

It’s because Evie took the emotional blows, absorbed the pain, and stayed. Of course. Her staying is the reason Imogen can go. She wraps her arms around her sister. Digs her fingers into her shoulder blades, hoping to absorb some of Imogen’s bravery, her ability to trust her heart, to trust Sloane, to follow that terrifying feeling into the unknown, completely forgetting that her fingers are covered in clay.

Work is a welcome distraction. An afternoon with Theo’s students made Evie brave enough to put a lunch invite on Sadie’s calendar for the following week. That day has arrived and, for the first time in over three months, they talk—reallytalk—about this magical and difficult art. Sadie discloses that it took a decade of working multiple jobs until she could afford to Foley full-time. Shares how demoralizing it can be to work in a male-dominated industry. Admits she doesn’t get attached to fellows anymore, that she poured her heart into one too many who quit the moment the realities of freelance life hit.

“If you want this, there isn’t room for much else. At least, not at first.”

Evie nods.

She understands.

Wants to be consumed by this passion.

“Your work onGinger? It’s sublime,” Sadie continues. Caught so entirely off guard, Evie responds by choking on agrain of rice. “You need to stop asphyxiating every time I compliment your work.”

“Sorry,” she sputters.

“You’re a dancer?”

“Was.”

“Our next project is a movie adaptation ofSave the Last Dance: The Musical.”

She cannot process a single word in that sentence. “Oh.”

“Can you learn the solos?”

“Yes.”

Her answer is enthusiastic, spoken without hesitation. It’s desperate. Sheisdesperate.

“It’s no wonder Ross took advantage of you.” Sadie’s expression remains neutral, her lips pressed together in a thin line. “I understand the impulse to be eager. It’s how we’re conditioned. As women. As people in these so-calledpassioncareers. But when someone offers work that’s beyond your pay grade…” Sadie shoots her a pointed look. “… like learning the solos for a big-budget film?You need to ask follow-up questions.About overtime. About credit.”

Evie’s silent.

After a beat, she asks, “Will I get overtime? Credit?”

Sadie’s smile lines are triggered. “Yes. If you deliverGinger-quality Foley, you will absolutely be credited. And Next in Foley isn’t going to pay you overtime, but I will give you ten percent of my contracted rate as a bonus.”

“Yes. I’m in.”

“No.” Sadie laughs. “This is where younegotiate. And ask for this in writing.”

Evie’s rattled by this entire interaction.Time.How many times had Charlie told her to give Sadie time? In this moment, she feels like she’s beginning to understand her mentor. SadieSilverman either cares too much or not at all. It’s an on-off switch. Has Evie proven that she’s worth turning on for? She asks Sadie follow-up questions. Negotiates for twenty percent of her rate. Notes this is the first time in her professional life that someone—anyone—is encouraging her to advocate for herself. By the end of lunch, Evie has a project that she won’t start working on until Sadie sends her the terms they’ve agreed on in writing.

Finally, Evie feels like an actual fellow.

Her first thought after she and Sadie part ways for the day?

I can’t wait to tell Theo.

Her life for the next two weeks revolves around rehearsals and prep and somehow, it’s now 1:00 a.m. the night before she’s due on a Foley stage. Evie can’t sleep. She’s always been restless the night before a performance because if she allows her brain to shut down, obviously every step will seep out of her skull. It’s irrational. Anxiety is irrational. But if she can’t sleep, she may as well practice.

She runs the routines again.

And again.

Two high-energy, extremely technical dances. One hip-hop. The other a contemporary choreographed by Sonya Tayeh. She kept her cool during their session, then called Imogen sobbing in the bathroom afterward becauseholy shit she just learned choreography from Sonya Tayeh. When Evie defined herself as a dancer first and a person second, she could’ve performed these routines in her sleep. Now? Her body needs to be eased into the movements. Now? Her joints ache after three run-throughs. Now?

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