Harriet Evans - Not Without You

Unfortunately for me, like all good publicity, sooner or later even those responsible for the myth in the first place started to believe it. Gilbert hated it too, because people were always trying to give me white roses, at premieres, at parties, wherever we went. Hostesses at dinners would thoughtfully always put white roses on the table and laugh a tinkling laugh when I murmured my thanks: ‘Oh, we know how you love them, dear!’

I shook my head, and said ‘Cream’ softly to myself. Don Matthews watched me.

‘Whose idea was it? The rose thing?’

I answered honestly, ‘Joe Baxter’s. I actually don’t like them.’

‘I thought so,’ he said. ‘He did the same with another girl he was trying to launch. Dana something.’

‘Really?’

‘Oh, yes,’ said Don. ‘He was obsessed with her.’ His voice was casual, as if he were giving me a piece of gossip from the studio, but something, something made the hairs on the back of my neck stand up.

‘What happened to her?’ I asked, my heart beating at the base of my throat.

‘Oh, she was Southern, and he put it out that she missed the camellias from home. But camellias only last a day or two and they’re a real pain in the ass to get out here. And then the big picture he’d put her in flopped – do you remember Sir Lancelot ?’ I shook my head. ‘Exactly. She was poison after that. They put her on suspension for something, then she made B-movies when her contract expired, then she disappeared. Last I heard she was addicted to the pills and making ends meet in titty movies out in San Fernando. Poor kid.’

I knew all about suspension. People kept saying the studios were on their last legs, but the truth was my contract with them was still rigid tight. They owned me. I’d heard about the actors and actresses who stopped being favourites. Too old, too expensive, too demanding. They’d be sent scripts that the studio knew they’d never agree to do – playing a camp comedy part, or an eighty-year-old aunt. When they turned them down, the studio put them on suspension, which meant they couldn’t work for anyone. And they could only watch as someone cheaper and younger, with better teeth and smoother skin, took their parts from under them.

I swallowed, as the noise of the bar and my own fatigue hit me in another wave. Don said softly, ‘Hey, kid, it’s OK. I’m just warning you. Don’t become another Dana. You’re on top of the world now, but they’ll still spit you out if you get to be too much trouble.’

I nodded.

‘Don’t let them make you do anything you don’t want to do. You promise me, Rose?’ And again he looked over at Gilbert.

‘I promise,’ I said, not really sure what he was talking about, but knowing he was telling me the truth. His lean body moved closer to mine; I watched the grazing of nut-brown shadowing his jaw, the tight expression in his eyes. ‘I’m OK, really.’

‘I know you are.’ He squeezed my arm. ‘We’ll talk about my script. I’ll come find you at the studio,’ he said, and I wanted to say ‘When?’ But Gilbert approached, with his arm round one of his friends, his third or fourth cocktail in hand. Danny Paige was tapping a rhythm out on the bar, someone was singing, the moon was shining outside and inside, tiny shafts of light spun from the crystal chandelier above us. The bird was still dangling from my arm, untended, unloved. I excused myself from Gilbert and went to the powder room. Alone in front of the mirror, I stared at my reflection for a long time, to try and see how Don thought I’d changed. I didn’t know why it mattered to me so much that he thought I had.

IF YOU WANT to see how much of a blood sport Hollywood really is, go to an awards ceremony. You have no idea how the entertainment business really works until you’ve seen some doddery old children’s actor pushed out of the way because Selena Gomez is coming through and her manager and publicist are screaming at the E! producer to get her in front of Seacrest, now . If Marilyn Monroe was suddenly reincarnated with Jesus and Elvis on each arm on a red carpet somewhere at the same time as the arrival of a cast member from Twilight, I’m telling you, the three of them would all be asked to move along.

I’ve only ever gone to these things when I’ve been famous, and so you’d think I’d enjoy them. And at first, I did. Hollywood loves to think it’s a friendly community, so you wave at people you recognise and hug that girl from the sitcom who spent three months with you in Louisiana shooting a picture and who was your best friend for all that time but then you never saw again. You exclaim at how beautiful they look and examine their dresses so there’s a friendly shot in the magazines of you with some other star both looking like nice people.

But it’s business, like everything else here. You’re promoting the brand of you and your newest film. You’re like a mannequin with ten pre-recorded sentences, there to be studied and commented upon, while behind you a crazy woman with an earpiece and a clipboard shouts at your neck, ‘This is NBC. This is CBS. This is E!’ You say things like:

‘Hi, everyone! Thanks for voting for me! I’m really nervous!’

‘Oh, your dress is so cute too!’

Or the deep-breath one, which you have to rehearse beforehand with your stylist and manager, because God forbid you get someone’s name wrong:

‘Oh, thank you! I love this dress too, she [insert name of dress designer] is such a total genius, and my shoes are from [insert name of shoe designer], my bag is from [insert name of bag designer] and these cute earrings are from [insert name of jeweller].’

The other thing you don’t see is the queue. The UP! Kidz Challenge Awards is at the Dorothy Chandler Pavilion in downtown LA, and a line of black limos or SUVs, all blacked-out windows and silver fenders, drivers in suits and shades, snakes down four faceless blocks. Inside each one is a star, waiting for his or her special moment on the carpet.

It’s humid tonight and the air con in the SUV is on max to keep me cool, which is making me sweat even more. A huge screaming cheer goes up from the crowd in the bleachers ahead of me and I peer out of the blackened windows, trying to see where we are in the queue. I hate this bit. At first, when I was over here promoting I Do I Do , I used to love imagining who was in the car in front of me. It could be Brad Pitt! Or Julia Roberts! These days I know it’s as likely to be some reality star with fake boobs who has 2 million Twitter followers and probably makes more money than most film stars. As the screams get louder I barely even look up from my phone. I’m waiting to hear from George, as ever. I don’t know where he is.

‘Did you meet Patrick Drew yet?’

I shake my head, fanning myself. ‘No.’

Opposite me sits my manager Tommy Wiley, frantically chewing gum, sunglasses on.

‘I haven’t seen you for weeks,’ he’s complaining. ‘This is how I communicate with you, these days? I ride with you to an awards ceremony? I’m like your security guy now?’

‘I’ve been … busy.’

‘Busy my ass.’ Tommy shakes his head. ‘Artie told me. You won’t commit to a new project, you won’t return his calls. What you been up to, for fuck’s sake, Sophie? He’s tearing his hair out trying to get something lined up for you.’ Tommy smiles. He likes it when Artie’s annoyed. ‘Poor guy.’

Under Californian law managers can’t negotiate contracts and agents can’t be producers on films. So Artie finds the scripts and the talent, inks the deal, talks to my lawyers, has the lunches to scout out the next hot project, and Tommy – well, he’s everything else. He has fewer clients, and I’m his priority at all times – I can call him day or night. He reads all my scripts and has a say in everything I do, but he also brings me business outside of the films. He takes care of the stylists and the journalists and the studios who want three extra days’ publicity off me, the airline that wants a fee in cash to stop me being papped on the way out of the plane, and the gay star who has his staff audition girlfriends for a million-dollar fee. Oh, yes, those stories are true.