Lucky Star (standard:romance, 4014 words)
Author: zepboy6	Added: Jul 29 2011	Views/Reads: 2753/1982	Story vote: 0.00 (0 votes)
A binman is asked to assist in the production of a film featuring refuse collection. To his surprise he ends up in the film. Other surprises follow. The story is written in the form of an interview with flashbacks.

Click here to read the first 75 lines of the story

was great, but never thought that it would lead to anything else. 

Interviewer: But it did? 

DG: Yes. About three weeks later Karen called me. She asked if I was
available to be the Technical Advisor for ‘Dirty Work'. I had to tell 
her ‘maybe', it all depended on whether my leave entitlement would 
cover the period they wanted me. 

KC: When I told him that we'd need him for at least four months he said
he couldn't do it. I had other ideas though. (Grins) 

DG: (Smiling) Yes. She went to my line manager and told them that the
production company would pay for my replacement for the duration of the 
filming. For some reason, only I would do. 

KC: Well, I felt that the production, especially the actors and maybe
the scriptwriter, needed some specialist guidance and because of the 
way Dave was able to give me some insight during my brief visit, I was 
confident that he was the man for the job. 

DG: (Laughing) I'm glad someone was. When they told me I was going to be
the ‘Technical Advisor', I panicked. I mean, what does a Technical 
Advisor do? 

KC: (Huge smile) Dummy! 

DG: (Blushing) Yes, I know now, advises on technical issues, obviously.
Interviewer: But that still doesn't explain how you ended up in the 
film? 

So there I was on the set of the film. They were setting up some
sequences of the RCV working. I had just spent a week working with the 
scriptwriter, polishing the finer points of waste collection operation 
with him, but here on set I felt overawed, like a fish out of water and 
a little alone. I wasn't sure exactly what I was supposed to be doing 
here, so I went and had a look at the RCV they were going to use. Here 
at least was something familiar. As I was poking around the lifts, 
Clint, the director, came up behind me. 

“This will be fine for the job won't it?” He asked. 

“It's a bit newer and cleaner than the one I'm used too.” I smiled. “But
it should be fine.” I leant back against the big solid side of the 
truck. “Can I ask one thing though, why am I here?” 

“Karen thought you should be on set.” He shrugged. 

“Miss Carragher? But to do what exactly?” 

“To keep an eye on how the waste collection ingredient of the film
looks. We don't want all your mates phoning up and telling us that its 
rubbish, no pun intended.” 

“All right, I understand that.” Now I had an idea of what I was supposed
to do. “How do you want me to express my displeasure? Should I run out 
shouting ‘No, no, that's all wrong'? Or will a tap on the shoulder be 
enough?” 

Clint put his arm around my shoulder and laughed. 

“Karen was right about you. You are a sharp one. Just tap me on the
shoulder and as long as it's possible, we'll do it your way.” 

I watched the first two takes as they loaded bins onto the truck down a
winding street and then had to tap Clint's arm. 

“What's up Dave?” 

“This driver character is supposed to be popular with his workmates, if
I read the script correctly?” He nodded. “Well, he wouldn't be very 
popular with his loaders if he kept pulling up like that all day and 
made them walk so far with heavy bins.” 

“What do you mean?” 

“I mean he should either pull up just past the bins so all they have to
do is push them onto the lifts, or pull up roughly equidistant between 
the bins either side of the road.” Clint gave me a puzzled look. I 
sighed. “I don't suppose this driver is a real bin man?” 

“No, he's the driver who brought the truck from the hire company.” 

“Thought so. Knows how to go forward, but not when to stop. Let me show
you what I mean.” 

“Go on then.” 

I trotted up to the RCV and indicated that the driver should move over.
I slipped into the driving seat and began to adjust things like the 
seat and the mirrors. 

“Don't worry mate, I know what I'm doing.” I said as I slipped the truck
into reverse and shot backwards up the twisty street to the entrance, 
using only one hand as usual. The company driver gave me a dark look. 
Ignoring him I wound down the window and stuck my head out to tell the 
extra's what to do. I turned on the radio and sighed. Now it felt 
right. I moved to the first pair of bins, and then the second... 

“That was quite astonishing.” Clint said. “They barely had to move.” 

“Well, loaders deserve something. The driver is in the dry if it rains
and in the cool if it's hot, so the least he can do is put the truck 
right next to the bins for them.” 

“I told you he was good.” Karen said. I hadn't noticed her come onto the
set. 

“I could probably do it quicker with practice.” I blurted out before I
realised that it sounded like boasting. Clint and Karen looked at each 
other. 

“How quick?” Clint asked. 

“For the street? Maybe five minutes.” 

“Okay. Go and practice and rehearse the extras at the same time.” The
director said. I trotted off, oblivious to the frantic signalling that 
was going on between the two I had left and three or four other people 
nearby. 

Interviewer: So you had no idea what was going on? 

KC: Same as usual. (Laughing) 

DG: Cheek! (Pokes her arm with his finger) No, I didn't know what they
were hatching. I just assumed that they were going to alter the camera 
positions or something. I mean, it was the first time I'd been on a 
film set, so I just took everything at face value. In any case, I was 
enjoying myself shuffling the RCV up and down the street. 

Interviewer: At what point do you realise that Karen and Clint had
something different planned for you? 

DG: It was when Clint came over to where some of the film crew had
gathered, betting me that if they coned off half the street I couldn't 
reverse up it. 

KC: He bloody did though! Smart Alec! 

DG: (Reddens again) It's easier than you think. Anyway, Clint came
across and asked me to come to the trailer in five minutes. 

Interviewer: And you still didn't suspect? 

DG: No, I thought I'd pissed him off by showing off in the truck. I said
as much when I went in. Karen and the scriptwriter were there too, all 
three of them looking at me in an expectant way. They told me that they 
wanted me to take the part of the driver ‘Pip' that hadn't been cast 
yet. I was a bit stunned. Having read the script, I knew that ‘Emily', 
Karen's part, was supposed to fall in love with him. 

“You're changing the ending then?” I asked. 

“No.” Said Clint. “Except to change ‘Pip' to ‘Pops' the script stands.” 

“But that's ridiculous. Twenty year old girls don't fall in love with
middle aged men unless they've got money.” 

“You're an expert on twenty year old girls then?” Karen asked sweetly
smiling. 

“No. But I am an expert on middle aged men, and I've never been that
lucky!” 

“Maybe your luck's just changed.” Karen said, a sly look on her face
now. 

“Besides which, this is the movies.” Clint said waving his arms wide.
“Anything can happen!” He put his arm around my shoulder. “Do you want 
the part?” 

“I've never done any acting.” I said. I still couldn't believe this. 

“That's the easy part for you. You just have to be yourself.” 

“So this ‘Pops' will react how I would?” 

“You got it.” 

“Please Dave. I know you can do it.” Karen gave me the ‘scholarship
girl' look, and batted her eyelids. 

“All right.” I sighed. “On the condition I can take some pictures of
what's going on. It's the only chance I'm going to get.” 

“Sure.” Said Clint. “Everybody does that anyway these days.” He went to
the trailer door. “I'll just go and tell the crew what's happening.” He 
turned and said as he left. “At least we won't need a stunt driver for 
you.” 

Karen took my unresisting arm and led me towards the commissary truck. 

“Come on. We need to discuss a few things about our roles.” 

DG: I did find acting as myself fairly easy most of the time, on the set
I mean. But when it came to the romantic scenes with Karen, it became 
difficult. 

Interviewer: Why was that? 

KC: I must say I never noticed any difficulties. 

DG: It had been a while since I did anything romantic, and about twenty
five years since I'd romanced a twenty year old. (Smirked) Anyway, the 
big tender scene two thirds of the way in? I couldn't get a handle on 
how to play it. 

KC: I thought you were messing it up purposely, so you'd have to kiss me
again! 

DG: (Laughing) No, honestly, it wasn't on purpose. I was having problems
with why. Interviewer: Why Pops was in love with Emily? 

DG: No, the exact reverse in fact. Why was Emily in love with Pops? I
knew I could be in love with a twenty year old. I was acting opposite 
one who I'd been attracted to since her third or fourth film. 

KC: You never said. 

DG: Why would I? Anyway, for all of that day, I couldn't get a handle on
why Emily would be in love with Pops. Clint gave up in the end, saying 
we'd shoot it later. 

Interviewer: But that scene is wonderful! How did you solve the dilemma?


KC: The night before the re-shoot I took him out to dinner and we
discussed how the scene should play. 

DG: That's not exactly how I remember it. 

Karen had asked me to dinner. She said there were some things we needed
to get right before the re-shoots, especially the major scene that I'd 
kept messing up a couple of weeks ago. I knocked on the door of her 
hotel room feeling overdressed. Suits don't sit well on me, I look 
awful in them, but I was dining with the beautiful Miss Carragher, so a 
suit it had to be. Or so I thought. She opened the door and just 
stared. 

“Didn't I tell you not to dress up?” She asked, indicating I should come
in. She was wearing a rock t-shirt, and a pair of tatty jeans. 

“I thought you meant not to wear a tuxedo.” I replied, my face going
red. 

“I said we'd just order some room service and then try and work out what
we need to do with these re-shoots. At least, that's what I thought I 
said.” 

“You did, but I've never had a meal with a famous actress...” 

“We eat together all the time!” 

“On set snacks are not the same thing.” I protested weakly. 

“What is your real problem here? Is it the same one that's causing you
to mess up in some of the romantic scenes?” 

“I... I don't know how to act around you.” I saw the smile on her face.
“Poor choice of words.” 

“Sit down while I order some food.” She sighed. I did as I was told. I
slipped the jacket off and stuffed the tie into the pocket and 
instantly felt more relaxed. Karen handed me a drink. I sipped at it 
gratefully. 

“You know, I am going to be the envy of every bin man in the country.” 

“And why would that be?” 

“Because I get to kiss you.” 

“So why do you keep getting it wrong?” 

I slumped down, realising I was going to have to tell her why. 

“Inexperience and disbelief.” 

“What?” 

“It's been a long time since I had to kiss a pretty girl, and never one
as pretty as you. And I still can't get my head around why a young 
woman would fall for an old man.” 

“Oh, you're an old man now?” 

“Don't tease Karen; this is messing up the entire film. So unless I can
believe in a reason, it'll take some nifty editing to get something out 
of the scene.” 

“Do you believe in me?” Karen looked at me earnestly. 

“Yes.” I replied, but reddened. “But you're a very good actress. Very
convincing.” 

“Thank you, but that's not what I meant. This film is my project,
something to show I can act as something more than a clever schoolgirl. 
It was me who wanted you in this film, because...” She faltered. “Well, 
because you're kind, honest, and funny. And a person like that should 
occasionally get the breaks.” 

“But giving me that break is stuffing up the filming!” 

“You are not listening. If YOU can get THIS role, then POPS can get
EMILY.” I was dumbstruck. She was absolutely right. Maybe miracles can 
happen, and if I just ran with it, it would work. Karen saw the sudden 
understanding flash across my face. “Get it now?” 

“Yes, yes. I can see how I can make it work now. Thank you.” I reached
up and held her hand, kissing it gently. 

Interviewer: So, with that one piece of advice you got it right? 

DG: Well, more or less. It still took about three or four takes, but it
wasn't just me messing it up this time. It was madam here as well. 

KC: I kept getting the giggles. And that was his fault. 

DG: Me? How? 

KC: You'd finally convinced Clint to put in the number plate scene
earlier in the day, and I kept remembering it at the wrong moment. 

Interviewer: I'm sorry, I don't... 

KC: It's okay. It's only a quick cut scene. There's a car number plate
that starts BJ08 and Pops just says ‘Am I the only one who thinks that 
says...' and then we cut to another scene. 

DG: Its part of the ‘getting along with the crew' bit of the film, where
Emily is starting to be accepted by the other workers. I asked if we 
could add a little ‘bin man' humour in. And yes, it is all as bad and 
smutty as that. 

Interviewer: Workplace humour doesn't change much wherever you work does
it? Now a last couple of questions about some rumours from the set. The 
first one concerns the car chase near the end. 

DG: The truck pursuit? 

Interviewer: Yes. The rumour is that you drove the truck yourself as
Pops chases Emily before she can leave town. 

KC: Oh yes, I can confirm he did. The stunt driver couldn't get it
right, but Mister Genius here did it much more smoothly and safely. 

DG: (Reddening again). It was pretty easy really. I'm used to driving an
RCV and had been driving that one in particular throughout the shoot, 
so I knew where to put her. 

Interviewer: Her? 

DG: The truck. Sorry if that offends anyone. But honestly, any other
experienced RCV driver could have done it. 

KC: I still don't believe you. You did it in one take, for goodness
sake! 

DG: Karen, I'm not the greatest driver in the world. Hell, I know I'm
not even the best in my own yard. I'm telling you, that chase was 
easier than the reversing up the coned off street. Everything was 
choreographed, and I just had a better handle on how the truck moved 
than the stunt guy. 

KC: (Mutters). I still think you're being modest. 

Interviewer: Anyway, the other rumour concerns some romance on the set. 

DG: On the set? (He looks puzzled.) 

KC: Between some of the actors? (Also puzzled.) 

DG: That guy, Steve, playing the other loader with Emily and Pops. He
was always talking with that nice girl who was the admin assistant. 

KC: She's his wife Dave. 

DG: She is? It's a good job I decided not to chat her up then! 

Interviewer: No, The rumours concern the two of you. 

KC: (Astonished.) US!!? 

DG: I think some people saw more than what there actually was between
us. Karen is a very good actress, and I've already admitted I'm in love 
with her from her earlier films. Perhaps they saw that and came to the 
wrong conclusion? Sorry to disappoint you. 

Interviewer: I'm not sure I believe you. 

DG: I'm not that good an actor; the whole crew will tell you that.
(Grins) 

Interviewer: Karen, Dave, thank you for your time. 

The man from ‘Total Film' left and I collapsed in a heap on the sofa of
the hotel room. 

“I'm glad that's over. I didn't like lying to him about us though.” 

“You didn't lie, just misled him a little. I'll tell you what, when we
announce our engagement after the film opens, he can be the one we tell 
first. That will make you feel better.” 

“A kiss from my lover would help too.” I grinned. She kissed me. “I
still can't believe this you know?” 

“Which part can't you believe at the moment?” 

“Well I'm prepared to believe that I've just made a film which is
apparently getting some reasonable reviews, I'm even prepared to 
believe that I don't actually ruin the aforesaid film. What I still 
can't believe is that I'm dating the star of that film.” 

“Why ever not?” Karen kissed me again, putting her arms around my neck.
“I practically told you right at the beginning.” 

“You did?” 

“Does the phrase ‘Maybe your luck's just changed' ring any bells?” 

“Good grief! All the way back then? I thought it was because of all that
kissing we were doing for the big scene.” 

“It started for me before even then. It was when you were showing me how
to work the back of a dustcart.” 

“The first time we met?” I whistled in surprise. 

“Yes.” 

“So you engineered me onto the set?” 

“Well, I only wanted a technical advisor, but I got an actor and a stunt
man instead.” 

“How many times...?” 

“Teasing, teasing.” She interrupted with a laugh. 

“So... So, it's not just some flash in the pan thing then.” I was
suddenly serious. Karen saw this and sat next to me. 

“Of course not. Why do you have to ask?” 

“Well, the truth is, I keep worrying. You're still really young and
I'm...not. I worry that I'll lose you somewhere down the line.” I 
looked into her eyes and was surprised to see tears forming. 

“You muppet. You are dense sometimes.” She kissed me again. “I contrived
to get you on my film set so I could have another chance to talk with 
you. You were the first person in a long time to treat me as a person 
not a movie star.” 

“But I treat everyone the same way.” I shrugged. 

“I know, even though you openly admitted you loved me as an actress, you
still treated me as a person.” 

“Well, you treated me as someone too, you weren't condescending or
anything.” 

“That's why I knew we could make it work, but you made it so hard for
me.” 

“With the ‘young women don't date old men' stuff?” 

“Yes. Remind me, when did we actually start dating?” 

“Around about when you convinced me that Emily could love Pops.” I
stopped. “Oh, you're right. I am a muppet. That whole argument was 
aimed at me wasn't it? Sorry for being so dense.” 

“Shut up and cuddle me, muppet.” 

I wrapped my arms around her in compliance. 

“I was wondering, which one of us is it?” I murmured. 

“Which one of us is what?” 

“The Lucky Star.” 


Tweet