Maybeck, forever a thorn in Andy’s side, catered to the fans who gathered around, turning a deaf ear to direction while offering autographs and smiling for photo ops. Finn reluctantly tried to help Andy keep the group under control, while Philby busied himself with studying the camera and lighting gear and interacting with the five-person film crew.
The location of the morning sun required them to shoot on Deck 12 aft, starboard side. A half-dozen tripods connected by dozens of thick black cables awaited the Keepers.
Andy barked out instructions to Finn, Willa, and Charlene, speaking loudly enough for Maybeck and Philby to hear him.
“The first scene we’re going to shoot is where the five of you are talking excitedly about everything cool on the Dream.”
“Remember,” Jodi said, “not ‘the Dream,’ but ‘the Disney Dream.’ Very important.”
Andy continued. “Near the end of the shot, Maleficent is going to make a cameo appearance behind you. You guys will freak out, she’ll throw a spell—” He paused. “Then I think Charlene, you will catch Willa as she faints. Finn, you run toward Maleficent as she hurries off screen.”
He stared at Finn’s long face.
“What?” Andy asked. “We’re going to turn Willa into a bouquet of flowers in post-production. Charlene ends up catching a bunch of flowers. It’ll be good, you’ll see.”
“Maleficent?” Finn said.
“Oh, come on! The big evil fairy? You’re talking to a guy who deals with special effects on a daily basis. You’re going to try to sell me that the Imagineers have figured out how to allow your brain function to control a hologram while you’re asleep? Uh-huh. Look, I’m in on the gag, Finn. Don’t worry, it’s safe with me.”
“But Maleficent,” Finn said, realizing Andy was a lost cause.
“I’m shooting an interstitial for the Channel. I’ve got a casting call for Maleficent, who is currently down in wardrobe and styling, and as much as I’d love to play along with the whole”—he drew air quotes—“‘Keepers thing,’ we’re burning daylight. ’Kay? So let’s get in a couple run-throughs before the talent arrives.”
“The talent. Right,” Finn said. He’d lost Maybeck to the adoring crowds, and Philby to the lighting grip, but he addressed Willa and Charlene. “The Green Machine is scheduled for the next shot.”
“Green Machine?” the lighting man inquired, overhearing. “Those smoothie drinks? Blue Machine. Red Machine. They got a green one now?”
“Something like that,” Finn said as his eyes met Willa’s.
Jodi overheard Finn, saw the troubled look in his eyes, and consulted her clipboard. “Andy…this character appearance…she wasn’t in the final script.”
Andy looked up from his clipboard of notes. “Yeah, I know. But she’s in the sides now, so we’re shooting it.”
“I should have heard about this,” Jodi said, approaching him.
“Reach Storey Ming,” Finn whispered to Willa. “Have her check the break room, make sure we’re getting the Cast Member character, not…our friend.”
“I’m on it.”
He asked Charlene to get Maybeck away from his fans.
“Philby!”
Philby joined Finn. “I know my lines. I’m good,” he said.
Finn told him about the addition of Maleficent to the scene. “We need to think fast.”
“We’ve got nothing!” Philby said. “We’re totally exposed out here.”
Indeed, with the passengers held back from the film shoot, it left the small film crew and the five Keepers isolated in an empty area of open deck with nothing but some tripods, lights, and cameras to hide behind.
Charlene returned with Maybeck.
“Guys,” Maybeck said, “if she throws a fireball, we’re toast. As in, crispy. She misses us? She’s going to hit them.” He indicated the dozens of fans and their parents, held back by crew members.
“We’re aware of the situation,” Finn said.
“Storey’s heading to the break room.” Willa wore her concern openly.
“Okay everyone!” Andy called out above the sound of the wind from the moving ship. “Places! Let’s do a run-through ahead of the talent!”
“The ‘talent,’” Willa whispered. “Now, that’s just precious.”
* * *
Storey Ming reached the bulletin board in the I-95 crew corridor and read the day’s itinerary. Her plum-colored painted nail traced across the matrix of boxes, stopping at the column labeled “Character Calls.”