Chapters (39)
- Cover
- Praise for Hannah Begbie:
- Dedication
- Chapter 1
- Chapter 2
- Chapter 3
- Chapter 4
- Chapter 5
- Chapter 6
- Chapter 7
- Chapter 8
- Chapter 9
- Chapter 10
- Chapter 11
- Chapter 12
- Chapter 13
- Chapter 14
- Chapter 15
- Chapter 16
- Chapter 17
- Chapter 18
- Chapter 19
- Chapter 20
- Chapter 21
- Chapter 22
- Chapter 23
- Chapter 24
- Chapter 25
- Chapter 26
- Chapter 27
- Chapter 28
- Chapter 29
- Chapter 30
- Acknowledgements
- If you enjoyed Blurred Lines, keep reading for a taste of Hannah Begbie’s first novel Mother.
- PROLOGUE
- About the Author
- Also by Hannah Begbie
- About the Publisher
‘If you like,’ Becky continues, ‘we could even try and find time to sit down with Sharon while we’re all here together?’ It’s a push, but Becky knows that the promise to read something fades fast. Getting into a room with a director you admire – that makes things real.
‘That’d be great,’ says Emilia.
‘I’ll hook us all up,’ says Sam. ‘Let’s make a fucking movie, guys!’ He raises his coffee cup in a toast, and then four coffee cups meet in mid-air, and Becky hears the blood pounding in her ears.
Sam consults his iPhone. ‘We need to get you up to the Peacock Suite for the junket, we’re a little late already,’ he says to Emilia.
‘See you soon,’ says Emilia to Becky, giving her a big smile. And then they’re gone.
Becky and Matthew sit there in silence for a full minute. Becky is savouring the moment, and hopes that he is, too.
‘Sharon McManus it is then,’ he says.
‘Was that OK? I’d have rather run it by you first.’
‘No. Look, Emilia gets it made. You could have my brother’s Labrador directing and someone’d still finance it with Emilia in the lead.’
Disappointment pricks at her. She had wanted to impress Matthew with the value of what she, alone, had brought to the party. ‘Do you not rate Sharon?’
‘I think she’s good. My point is she doesn’t have to be better than good. Because you’ve landed Emilia.’
‘Have we?’ She feels better again.
‘I think so. Sam knows her better than anyone and he’s a big fan of the script. He wouldn’t roll out all that “let’s make a fucking movie” bollocks if he didn’t think she was thinking that. I’ll call him to check, but I think we can start talking about it.’
‘Don’t we need to get Sharon to approve Emilia first?’
‘No!’ Then, softer, ‘It’s your film. If you want to make Sharon feel like she’s in charge, that’s up to you. Personally I don’t think it hurts for a director to feel like they’re coming onto something substantial. Something that will very easily survive them exiting it, if it comes to that. But you have to figure out what works for you and for the situation. It’s different every time.’
‘But you think we’ll get it made?’
‘I do. And I need to spend more time hanging out in the toilets. Not a tip anyone’s ever given me before.’
‘I got lucky.’
‘Bollocks. You somehow managed to attach Sharon to your project between pissing and washing your hands. That’s a rare talent, Becky.’