Page 51 of Collateral Damage
One of the movers turns in what is apparently the wrong direction, considering the woman shrieks. “That piece is fortheupstairsbedroom. You know there are two floors in this penthouse, right? Or do I need to give you a tour again?”
The burly man sets the nightstand on the hardwood with such a loud thud that I wince on impact. He makes eye contact with Cooper and stomps over to us. “I can’t work with this woman. Either you get rid of her, or my crew is out of here.”
“What did you say to them?” The woman strides over, hands in the air like she’s a referee calling a play. “I’m the set-designer, and you’re the mover.I’myour boss. You talk to me, not them.”
The burly guy bugs his eyes out.
Cooper turns on the woman. “You know we’re the producers on this show, right? So, he may work for you, but you work for us.”
She tuts. “I work for Perry. Where is he? He should be here. I’m sure you’re wonderful, but you don’t have the experience Perry does.”
“Perry had a conflict,” Cooper growls. “As I’ve already told you, this ismyhome you’re standing in.”
“Right now, this ismyset.”
“It’s only a set because I’m generously allowing it to be a set. And as my home, I say who gets to be here. You’re no longer welcome, so leave.”
I blink, shocked at how quickly this escalated.
She steps back, her manicured hand flying to her mouth. “Do you know who I am?”
“Do Icarewho you are?” Cooper snorts. “The fuck not.”
She shakes her head, holding up a single finger. “I have more experience on set in this finger than you do in your entire body.”
Okay, this has gone on long enough. “I think what Cooper was trying to say is you need to work with the movers instead of being cruel. We’re all professionals, and if we’re willing to act like it, then?—”
She holds her hand to my face, her manicured finger practically on my lips, and I jerk away from pure shock.
“Hush. Nobody was talking to you,” she says, and I blink at her.
Coop’s shoulders stiffen, and he steps in front of me, knocking her hand from my face with his body. “Clearly you don’t know who the fuckIam.” His voice is so low it’s almost criminal. “I’m CooperKing,the next COO of King Media, and this ismyhouse you’re disrespecting me and SybilLaurencein, as inLaurence Internationaland the other company funding this project.”
As he speaks, her eyes go round, and her face turns red. Today is not her day. I’d feel bad if she hadn’t just shushed me like I’m a toddler.
Cooper continues, pointing to the door. “I don’t care how many years you’ve been in this business. You’re unprofessional and rude… and you’re fired.”
Her mouth pops open. “I-I’m sorry… I didn’t know.”
“Get. Out.”
She practically sprints from the apartment, muttering angry nonsense under her breath as she goes.
Cooper’s shoulders relax as he turns to me. “You okay, Valentine?”
I don’t have it in me to correct him. “I’m fine, but now we don’t have a set-dresser, and we’re running out of time to hire a new one.”
“We don’t need a new set-dresser. You can do it.”
I scoff. “I don’t know anything about set design.”
He studies me with furrowed brows, and for just a moment, I feel like he’s letting me back in, like we’re mending something between us I thought would be broken forever. “How hard can it be? This isn’t a sci-fi film—this is a reality television show. Make it look nice, and Perry can tell us if something needs to change.”
I fold my arms over my chest, noticing the way his gaze intensely tracks my movements. It sends a wave of heat through my body, but I don’t let myself think about that for too long. “I’m pretty sure you have offended an entire profession.”
“You’re good with design. Help these guys place all the rugs and furniture where you think they should go. Plus, there’s Google.” He gives me a wink, and I get a glimpse of the old Cooper, the one who had a knack for bringing levity to a tense situation. My heart twists with longing for our old friendship.
“Yeah, I guess there’s always Google.” I elbow him playfully, and he smiles.
