That EXTRA Something (Lacey's Becoming - Episode 2)

Short Story Tuesdays

Like Marilyn Monroe emerging from Norma Jeane, like Lady Gaga projected from Stefani Germanotta, Lacey had unleashed her inner sensuality as part of the process of becoming Jean Patchett, the famed 1950’s supermodel who had defined sophisticated sexy.

From the form-fitting skirt that clung to her like a second skin to the elbow-high gloves that hinted both naughty and nice, the ends of which seamlessly merged with her perfectly-creased top.

Matching her gloves in color, a centered white scarf shot straight up to Lacey’s neck, where it snaked around an extra-sharp collar that stuck out like a pair of propeller blades.

Indeed she had taken flight up to a stratosphere all her own, the face of allure covered in a netted veil and topped with a wide-brimmed hat.

Lacey had signed with one of London’s most well-known casting agencies a few weeks prior to this first day of shooting. As expected opportunity was only available through Background work, the tight knitting of Paul Thomas Anderson’s inner circle preventing anything further. But Lacey didn’t see this as an obstacle, knowing that even the most A-list of artistic minds wouldn’t ignore a wallflower blooming out of obscurity every now and then.

From that first strut onto the set the crew was taken aback, starting with the Third Assistant Director, who was in charge of signing in and herding Extras. At first he thought that she was a principal actor, referring to her as ma’am as he politely asked her name while fumbling his papers around in search of the day’s call sheet.

Lacey refused to say her actual name, as she was now Jean Patchett, instead handing over her passport so that he could find her listed.

“Just an Extra, my dear,” were the only five words she said, the Third A.D. quite surprised and still very shy as he found her name on the roster and checked her in before escorting her to hair and make-up, then wardrobe.

Both departments simply had nothing to retouch, to add, to adjust, for Lacey was already 100% prepared, leaving them speechless other than to say, “She’s already camera-ready.”

Onto the set she strolled, the interior of the 1950’s London café being the finishing touch of taking her to that special place of believing it was real, she, as Jean Patchett, was real, her confidence, her being, turning the head of every soul in that place as she took her seat adjacent to the main table that all the lights had been centered around.

Minutes later and Daniel Day-Lewis walked into the scene, his character unable to just glance at Lacey’s character, the two sharing a moment of intimate introduction through the eyes before he took his seat.