Page 44 of (La)Crosse My Heart

So much for keeping things strictly professional. Or was that just a knee-jerk response to him being nervous about being up there in front of the camera?

My stomach sinks as I rationalize the kiss away. That has to be the thing.

I try to paste on a smile and am as supportive as possible when they guide Clark through the next several spots.

"What's your name?" the cameraman asks during a break when the director walks Clark through his next movements.

"I'm Jessa."

"Steve. We're glad you're here. I'm not sure what you did, but this has been thousands of times easier than the last time he was here."

I chuckle and shake my head. "I doubt I had much to do with it."

"I don't know," Steve says, glancing between me and Clark. "I'd have to say you're calming his nerves. The way he looks at you is something else, too."

I see nothing different in how he’s looking at me, but my brain is good at changing reality to make it easier to digest.

Clark struggles with a couple parts, but he’s looking more relaxed than I’ve seen him yet with a camera in his face. Even the director seems to be patient, which I wasn’t expecting after what Clark had shared on the plane over here.

“Cut,” the director says and claps. “One down, a few more to go.”

Clark’s shoulders slump, as if relieved to even have gotten that far. When he looks up at me, I can see how drained he already is and we’re not even at the halfway point of the day.

“What’s the next spot to film?” I ask Steve.

“It s like the one he just did, but with some more of the lacrosse gear added.”

They set it all up and Clark is still there in the warm lights, looking like he’s going to melt at any moment.

“Action!” the director calls.

“When I’m on the field, I need gear that—” Clark pauses again before saying, “That gives me... uh... what’s the word again?”

He either needs a break or to do something different.

I walk up to the director and say, “Can I make a suggestion?”

The guy turns to me, raising an eyebrow. He’s probably not happy to be interrupted, but Clark is going to spiral and shut down if we don’t do something different.

“How about we do an informal question session? We can incorporate the brand into the spot, but that way he doesn’t have to act for every spot you’ve planned?” It’s a long shot, but I’m hoping he’ll understand why I’m asking.

The director turns to Clark. “What do you think?”

Clark blows out a breath. “I’m here for whatever you need. A break from acting out the parts would be nice.”

The director nods and waves to some people behind him. “Let’s set up all the equipment behind Clark. We’ll have him sit in a chair and get one for the lady. I hope this works.”

“Why don’t you have him stand?” I say. “He could play with the ball and stick. That way, we’re displaying some of the equipment while he’s answering questions.” If he’s got something to do, it takes some of the pressure off.

The director nods and waves to take the chairs away.

I stand just off camera, holding the script. I scan through it, trying to make mental notes on what I can change to make it workable material.

I point to him, and he says, “When I’m on the field, I need gear that, that gives me?—”

“Confidence. Comfort. And hopefully a functioning memory,” I deadpan.

Clark laughs and says, “I knew there was a C-word in there somewhere.”

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