Danielle Steel: Bungalow 2

“I hate you.”

“I love it when you say that,” he said. “It means I'm getting to you. The producer in this case is English, and he wants to meet you. He'll only be in San Francisco this week.”

“Oh, for chrissake, Walt. I don't know why I listen to you.”

“Because I'm right and you know it. I only call you for the good ones. This is a good one. I can feel it. I met him in New York before he went out there. He's a nice guy. And he makes good movies. His list of credits is excellent. He's very respected in England.”

“Okay, okay, I'll meet him.”

“Thank you. Don't forget to let the drawbridge down over the moat.” She chuckled, and Phillip Cornwall called her late that afternoon. He told her how grateful he was that she was willing to listen to him. He didn't tell her, but her agent had warned him that the likelihood of her seeing him was slim to none.

She met him for coffee at Starbucks in Mill Valley. Her hair had gotten longer, and she hadn't worn makeup in six months. Her year with Gordon had brought her joy and fun, but losing him had taken a toll. In the last few years she'd been disappointed too often, and lost too many men. She had no desire to try again. And when he met with her, Phillip could see that bad things had happened to her. There were rivers of pain in her eyes. He had read it in her writing.

He described the story to her, while she drank tea and he drank cappuccino. She found his accent soothing. And she liked the fact that he wanted to make the movie in San Francisco. The story was about a woman who died while traveling, and traced her back to where it all began, what had led her to the place where she ended, and why she had died, as the result of her late husband leading a secretly bisexual life and contracting AIDS. It was a complicated story, yet the themes were simple. She liked everything about it, and was intrigued by what he said. She paid no attention to how he looked. She liked his creative spirit and the complex workings of his mind. But although he was young and good-looking, she had no interest in him as a man. That part of her was completely numb. Or dead, she thought.

“Why me?” she asked him quietly, sipping her tea. She knew from his biography that he was forty-one years old, had made half a dozen movies, and won a number of awards. She liked how straightforward he was when he talked to her. He didn't try to butter her up, or win her over. He was well aware that she was unlikely to do it. He wanted to convince her based on the merit of the material, not on charm. She liked all that about him. She was long past wanting to be vulnerable to charm. And if nothing else, he wanted her opinion and advice.

“I saw the movie that won you the Oscar. I knew I had to work with you as soon as I saw Gone. It's an incredible film.” With a powerful message, like the screenplay he wanted her to write.

“Thank you,” she said simply. “So what will you do now?” She wanted to know his plan.

“I'll go back to England.” He smiled at her, and she saw that he looked tired. He looked both young and old at the same time. Wise, yet still able to smile. In some ways, they were a lot alike. They both looked tired, and somewhat worn by life, yet neither of them was old. “Eventually, I hope to gather up my pennies, bring my children, and come to live here for a year. And make my movie, if I'm lucky … I'll be very lucky if you write it.” It was the only charm he had allowed himself and she smiled. He had deep, warm brown eyes that looked as though they'd seen a lot of life, and some hard times.

“I don't want to write screenplays anymore,” she said honestly.

She didn't tell him why, and he didn't ask. He respected her boundaries as well as her skill. She was something of an icon to him, and he thought she had enormous talent. It didn't bother him that she was distant and chilly with him. He accepted her as she was.

“That's what your agent told me. I was hoping to convince you otherwise.”

“I don't think you can,” she said honestly, although she loved his story.

“So he said.” He had almost given up hope of her writing the script for him. But it had been worth a try.

“Why are you bringing your children here? Wouldn't it be easier to leave them in England while you work?” It was a detail, but she was curious about him. He had dark hair, fair skin, and those soft brown eyes that bored into hers, with a thousand questions he didn't dare ask. She was braver than he.

He answered her question as simply as he could, without offering details. “I'm bringing my children because my wife died two years ago. In a riding accident. She was crazy about horses, and very headstrong. She went over a bush and broke her neck. It was rough terrain. She grew up riding to hounds. So I have to bring my kids. I have no one to leave them with at home.” He sounded matter of fact and not sorry for himself, which touched her more than she showed. “Besides, I'd be miserable here alone. I've never left them since their mother died, until this trip. I only came over for a few days, to meet you.” It was hard not to be flattered, or touched.

“How old are they?” she asked with interest. It explained what she saw in his eyes and on his face. There was pain and strength. She liked the mixture of both, and what he'd said about his kids. There was nothing Hollywood about him. Everything about Phillip seemed real.

“Seven and nine. A girl and a boy. Isabelle and Rupert.”

“Very English,” she said, and he smiled.

“I need to rent a place, if you know of anything dirt cheap.”

“I might,” she said quietly, glancing at her watch. Her kids were coming home, but it was still early. She had given herself plenty of time when she agreed to meet with him. She hesitated, and then decided to stick her neck out, and wasn't sure why, except that she felt sorry for him. He had a lot on his plate, and he wasn't whining about what had happened to him. He was making the best of it, keeping his kids with him, and trying to do his work. You had to give him credit for that. “You can stay with me until you find a place. I have a comfortable old house, and my kids are away at school. They're coming home tonight. But normally, they're only here over Christmas and in the summer. So you can stay for a while, and the schools are good here.”

“Thank you.” He looked moved and didn't speak for a minute, touched by her offer. “They're good kids. They're used to traveling with me, so they're pretty well behaved.” It was the kind of thing all parents said, but if they were English, Tanya suspected it was true, and it would put a little life back in her house until he found a place to rent. She wanted to do something to help him, even though she wouldn't write his script. He'd have to find someone else to do that. But she didn't mind their staying at her house until he found his feet.

“When are you coming back?” she asked with a look of concern.

“January. After they finish their term. Around the tenth.”

“That's perfect. My kids will be back at school by then. They won't be home again till spring break. When do you leave?”

“Tonight.” He had the material on the table between them, and she picked it up while he held his breath. She held it in her hands for an interminable moment and their eyes met.

“I'll read your stuff and let you know. You can stay with me either way. Don't get your hopes up. I'm not going to write another script. But I'll tell you what I think.” She was impressed by what she'd heard so far and by him. She stood up then, holding the folder in her arms. “I'll call you after I read it. But don't count on anything. It would take a lot to make me do another movie. I'm about to write a novel. I'm through with films, no matter how good your story is.”