quiet on set.
summary: on your fourth big blockbuster working together, you find yourself scolding hollywood’s favorite, tom ryder. to much success, it manages to capture colt’s attention.
pairing: colt seavers x gn!reader
word count: 4.0k
tags: fluff and humor, coworkers to lovers, workplace relationship, mutual attraction, courting, flirty!colt, tom ryder being an asshole, brief gail meyer cameo, sexual humor, minor injury, kiss at the end, script supervisor!reader, gn!reader
cross-posted to ao3
“Solid chance for a reshoot,” you mutter under your breath, as soon as the director calls cut. It’s clearly too loud, because the lead actor for the film whips his head around to locate your voice. Tom Ryder looks like he’s about to throw a temper tantrum; the overly-tight business suit and cowboy hat he’s costumed in does nothing to help his case. You’re perched on your chair, script in-hand with one leg crossed over the other. You can only react with a raised brow.
“That doesn’t make any damn sense. I nailed it. My foot’s on the tape,” Ryder protests, arms flailing down to point at the gaff tape under his left shoe. He isn’t wrong, per say; his foot is most definitely on the spike. But, there’s a very clear issue.
“You’re faced in the—” Uncooperative, you remind yourself. There’s no point in arguing with Ryder head-on. You turn to the director, pen tapping against the stapled script in your hand. “He’s faced in the wrong direction.” You can’t imagine that you’re the only one who’s spotted this, but the vast majority of the crew want to keep their jobs—and someone as fiery as Tom Ryder isn’t the safest to correct.
It’s your fourth big blockbuster with him as lead and it still astounds you how much they let him improv his scenes. It’s difficult to tell if he’s playing different characters or just slightly different versions of himself. You can tell that half the set wants to throw in the towel by this point—with your observations and Ryder’s fussing. He clearly doesn’t want to admit that he’s clearly overlooked the simple detail. “So, Seavers can just reshoot the stunt to match the shot.” Classic.
You don’t even know where Colt is right now. Probably taking a nap in his trailer, or grabbing a bite to eat off-set. You can’t think about that now, because you need to focus on talking over Ryder. “That’s insane,” you counter. “It’s too expensive to reshoot the stunt, and it’s already perfect as-is. It doesn’t take a whole lot of work to recreate the scene you just did.” It’s really not. All he has to do is wave his stupid prop-gun around and run his mouth.
“Pain in the fuckin’ ass,” Ryder mutters indiscreetly. You can only scribble away on your script, unamused. The makeup artist that comes to touch up the highlighter on his cheeks looks half-scared to death. You can tell that she’s in a quick rush to dab the brush at his face and scurry away as fast as possible.
“Tom, bear with us for a minute. We’ve got this scene left, and then it’s press time. You love the press,” the director exclaims, all too sporadically. “We’ll redo the scene really quick, bud. Just go with the flow.”
—
You’ve been keeping your eye on Colt for the last week and a half of production. It’s not that you can control it. Whenever he’s substituting in for Ryder for the fight scenes or the pyro or the vehicular stunts, he’s always front and center. You’ve got to keep your eye on the script and Colt simultaneously; it’s your job—tracking the consistency. In any case, you’d have to do just the same for Ryder. Except, when Colt’s not needed for the shot, you, on occasion, still keep your eye on him.
So, you might have an inkling of a crush on the senior stunt double on your set. The reason, you’ve tried to deduce, is that he’s relatively much nicer than Ryder, which means you’re so much more likely to like him. And you’d be lying if you said you weren’t attracted to him, with his blonde highlights and all the movie quotes he spews out between takes.
Usually, you’ll find him at the catering table, on his third cup of your shared fourteen-hour day. It’s under these usual circumstances that he comes to thank you. You feel a tap on your shoulder—and Colt’s there, right beside you, mug in hand. You give him a nod and a smile, trying not to come off too jumpy. He still has his costume on, grayish blue suit and a slightly darker tie to match—topped with a brimmed cowboy hat. It’s the same as Ryder’s. You drop your thermos down on the folding table, trying to figure out what pastry might tie you over for the rest of the day.
“So, I heard you did me a big favor,” Colt murmurs. Word travels fast on-set, clearly. He takes the white little espresso mug up to his lips, taking a sip of the hot brew as he leans back against the catering table. He lowers it just a little to say, “You should’ve just let him make us reshoot.”
You shake your head, picking a scone off one of the trays and placing it onto your flimsy styrofoam tray. “It’s good to get him worked up early during production, so he might ease off the bitching later. It’s like an advanced payment.”
Colt snorts. “Nice,” he says, “I’m pretty sure he’s trying to get Gail to get you fired. Obviously, you didn’t hear it from me.” It barely fazes you. Ryder’s always dying to get somebody fired, and it alternates based on his particular moods. His targeting you is no different than usual.
“She can’t fire me,” you chuckle. After four blockbuster films of you on script with the bigwigs, you’re convinced that you’re invincible. It’s naive, maybe, but you’re good at what you do. You’re credible. And, on this particular contemporary Western at least—with crunch time now, in the middle of spring—you’re safe. You digress, “I know the film inside out, and it’d be a killer to replace me at this point in production.”
“Right,” Colt nods. He doesn’t seem to believe you too much, but it is what it is. He seems to lower his voice as crew, largely lighting and sound in all-black, whizz past you to set up for the next scene. Intently, he tells you, “I wouldn’t mind reshooting if it means Ryder won’t give you as hard of a time.”
Your eyebrows crease. It’s not that you don’t appreciate his efforts to make your life easier. It’s just so simple the way Colt thinks he can be tossed around; you wish he’d be more careful with himself. “Kind offer. Thanks.” You’re brushing him off; he can tell.
“Even if you won’t take me up on it,” Colt tilts his head, “I’m around whenever you need me. What is this, our third film together?” He’s flashing you a grin, back to the table. He must think he’s real cool; you hate that it’s working on you.
“Fourth,” you correct. You’re not sure if it comes out short or timid; regrettably, it feels more like the latter. Colt lowers his mug down onto the table, faltering just slightly.
Briskly, he repeats, “Fourth.” Colt makes an extended effort to turn around and pick your thermos up off the table. You have to suppress a yelped “hey.” Despite your protests, thermos his hand, Colt practically bodyguards the whole setup—the Keurig and the metal basket of espresso pods adjacent to it. Your hip bumps against his as he puts his forearm to fend you off. You’d try to grab for it if you weren’t at work, PAs and DPs flitting around you both. “You don’t have to—”
And, like a flash, Colt tosses your thermos onto the bottom plate, whips the pod into the canister, punches the lid down, and clicks double-shot. “My first installment for you screwing over Ryder on my behalf.” While you’re both waiting for the machine to pour down coffee, he’s humming something like ABBA. “How pissed was he to reshoot?”
“Practically frothing at the mouth,” you tell him, “I’m surprised they didn’t prep a bib.” Colt’s perfectly satisfied with this answer, nodding curtly. Respect. Not many people are capable of talking down on Ryder so openly.
The thermos gets filled halfway, and Colt offers it back up to you, “Here.” You take the thermos back, in steady avoidance of his callused fingertips. He admits, “I don’t know how you like your coffee yet.” Yet? You narrow your eyes. You’re not sure that Colt has ever been so attentive talking to you, and you’re trying not to feel the way your breath hitches in your chest in response.
If there’s anything you’re able to bond about with Colt, it’s the damn on-set coffee. He’s practically running on the stuff, probably ten times worse than you are. His little mug finds its way back into his hands again. Colt fails to speak for a moment, too occupied by… something on your face. You’re trying not to crumple beneath his observation, but Colt’s smiling and he’s searching over your features for something.
Finally, after a few seconds, he lets up. “I’ll get your order down sometime this week. I’m, uh, quick to learn,” he tells you. Then, he raises up his little cup toward you. “Cheers. To you disturbing the peace.” You raise your thermos, and Colt’s ceramic clinks against your metal. A little victory.
—
You could care less about Ryder’s peace, really; but, you’re partially grateful in the fact that it’s allowed you to catch Colt’s attention. Colt sticks to his word about the coffee, because he seems to keep his attention fixed whenever you’re at that catering table with him. And when you’re not at the catering table, he’s still somehow around, holding open doors for you and keeping spare pencils tucked on his person for you to use to mark scripts. You don’t want to mistake it for anything that it’s not, but it feels almost vaguely like Colt Seavers is trying to court you.
All the fuss that he’s been making to please you culminates into a really unnecessary scene on-set. You’re right off camera, next to the director, camera op, Gail, and… Colt. It’s one of those classic getaway car scenes, set in a downtown street; they’ve got Ryder in the motions of hopping into a great Oldsmobile Toronado, while two security guards are trying to hop and skip after him in the facade of a nameless bank. All the action—Ryder yelling “Really, it ain’t personal,” in a vaguely East Coast accent—culminates into him jumping down a set of stairs and whipping the door open. He clambers in, slams the door shut, and throws a big duffel into the backseat. The open zipper of the bag makes for a great effect of bills being scattered all in the closed containment of the car.
The director yells cut and the crew runs round to reset. Ryder runs his nails into his scalp, pushing back his curls; it all comes very easily to him, these things. As terrible as he is a person, he still can’t help but be great at his craft. It’s insufferable. One of the PAs guides him out of the car and off-camera to a tall chair with a glass of water and a tray of fruit. He pops a green grape into his mouth, before staring off in your direction, bored. “Can somebody tell Colt to stop eye-fucking the scripty?”
The notes that you’re taking down in red ink have to wait. You slap your script down onto your lap. “He’s not,” you spit out, gawking most of all at the choice of words. In front of the entire set—oh, you want to kill Ryder; there’s nothing in the world you’d want more.
“I’m not—” Colt scoffs. “I’m trying to gauge if the camera needs to get pulled back. It’s gonna be a killer if I crack the lens.” You look over your shoulder to check Colt’s conviction. There’s zero of it. He’s looking down at you and back at Ryder, hands propped on his hips. You can see his chest rise and fall. Colt wants to look tough, and his composure is doing absolutely to help you.
Ryder laughs, really guffaws. He makes sure to crunch down another green grape, before he shoos the whole arrangement away with a “Thanks, honey.” The PA by Ryder’s side makes sure to make themselves sparse, taking away the fruit and leaving him with the water. Ryder keeps his eye locked on Colt, already quite entertained. “You’re a shitty liar, dude.”
“There’s a reason why one’s the lead and the other’s the double,” Gail says heartily, smacking her gum with a shrug. When she finds that you haven’t agreed with her, or at least laughed alongside the two of them, she gives you an eyeroll under her wide glasses. It’s all wide and clear: Gail thinks you’re no fun. She should really adjust her priorities.
The director groans, “Jesus, Colt, just go get in the car.” The talk is getting you all further behind schedule. Colt’s meant to crash into a storefront window. Amidst the arguing, everything’s all in place—an Oldsmobile replica driven up in place of the real deal, door open for Colt to jump in. You can feel him hand tap the back of your chair as he straightens out his costume and grabs for his crash helmet. A wordless sorry. You try not to jump at the feeling of Colt’s suit brushing against your shoulder as he passes by you.
“You got it, boss,” Colt calls out, exclamation muffled. He throws out a big thumbs up as he makes it over to the car. You have a feeling that Colt is going to grovel later about Ryder making a scene of the two of you, but really, it isn’t the worst thing in the world—at least, until Colt slams the car door shut and Ryder decides to speak up again.
Leaned over in his tall chair, he asks slovenly, “Seriously, are you sleeping with Seavers? If it’s because he’s my stuntman and it’s a power thing—”
“No! No, I’m not sleeping with Colt and even if I was, you would have absolutely nothing to do with you,” you hiss. The ego on Ryder makes your head thrum. You try to keep to your script—taking up the clipboard in your lap to write notes down on your log on the last couple of shots.
“It would make sense ‘cause he looks like me, you hate my guts. It’s like that psychosexual shit that Freud talks about… uh…” Ryder taps his fingers on the armrest of his chair, then clicks his fingers: “Displacement.” Smartass. He probably only knows the term having prepped it for an interview on one of his psychological thrillers. Ryder is about to continue harping on about how flattered he is, but the 1st AD calls quiet on set; he shuts it.
—
You’re stationed at your new spot on the opposite side of the backlot, five feet behind the secondary camera setup—where Colt is meant to swing the car through a large glass window. Luckily, Ryder and Gail have decided amongst themselves to depart elsewhere to talk about the next big film. This way, you’ll be able to worry about this stunt in peace.
At action, the Oldsmobile revs. Colt is making sure to kick up some smoke. You can tell now that this is going to be a good take—just from the way he’s handling the car. If you’re not mistaken, you think that he might even be driving with a bit of extra force. The car starts barreling down the set raucously. You’re trying not to grip your script too hard at the sight of him speeding down the road. As Colt’s car approaches, you’re unable to see his expression past the tinted helmet. The flash that you do catch is of his gloved hands gripping the wheel—and the most that you can do is cross your fingers.
The collision is hard. You can’t help but flinch at the sight of him tearing the car through the pane. It shatters loudly, and you can see the motion of the Oldsmobile hitting the crash pad. The director makes sure to hold, so SFX can machine-pump a bit of fog out of the fictitious storefront and make the scene look a little prettier. Then, they call “Cut.” There’s a whole lot of movement towards the car—first, with brooms to sweep away the stray glass, and second, to check on Colt.
The door of the Oldsmobile whips open, and Colt shoots out a thumbs up. You sigh. He’s fine. As soon as he gets out of the car, though, you can’t help but notice that he’s gripping his shoulder and trying to stretch it back. He takes a moment to tug off his helmet and mess with his hair just a bit. The nearest on-set medic tries to approach him with a “If it hurts, I can take a look at it,” but you hear him deny it with an insistent “All good. Don’t worry about it.” The director runs up to give Colt praises—“The shot was perfect, man. Good job.”—calls a thirty-minute break to the crew, and then rushes away.
By the time Colt gets over to you, you’re still locked into your seat trying to look busy. Your fingers are clasping around your script and logs, trying to straighten out the stack as you tap it atop your knee a few times. He comes up and leans one hand on your armrest. As casual as he tries to make it look, Colt’s trying to keep himself steady. You suck in a breath and look straight up at him. “You screwed your shoulder up, didn’t you?”
His brows furrow. “No. I stepped on the gas harder than I should’ve so it’s just a residual, you know, body reaction,” Colt says, coming off your armrest. For once, Ryder’s right: Colt is a shitty liar. “I would know if I screwed my shoulder up,” he says dismissively.
“You,” you say, index fingers pointed up and towards Colt’s chest, “are going to let me take a look at it, and if it’s bad, I’m going to tell them to send you home early.”
He scoffs. “I still have two more stunts tonight.” But somehow, he’s still bending to your whim—because as soon as you hop off your chair and begin to walk off in the opposite direction, Colt’s right on your tail. “It’s my job to get dinged up,” he says, eyes still tracking your expression. He’s trying to tell whether or not you’re mad at him. You aren’t mad, per say—but you’re not very pleased, either.
His trailer is in sight pretty quickly, tucked away in a corner of the exterior set. It’s really just a giant metal box, identical to the rest. “Okay, yes, you’re supposed to get dinged up, but not recklessly,” you tell him, approaching the front door of the trailer. “Or more than you have to. Quality over quantity, Colt.” When you look over, Colt is trying not to wince. You can’t help but frown at him.
“I’m used to it,” he tells you, shaking his head, “I have Extra Strength Advil in there. It’ll work like a miracle—just watch.”
—
You already know that Colt screwed up his shoulder, because he can’t even take the suit jacket off himself. You have to come up behind him and help him shrug it off, trying to pay no mind to the shaky breaths and heavy groans that come with the movement. The pale blue dress shirt he has on is tight around the arms; it’s not your first time seeing how much muscle Colt has on him, but it’s still just as jarring. So, you’ve got to ignore that, too. The tie is easy for Colt to pull off and toss away. Though, he’s having trouble with the buttons on the shirt—too much pull on his shoulder. You swat his hand aside and begin the motions of unbuttoning it for him.
“Okay. I shouldn’t have driven as fast as I did,” Colt admits to you, “It’s on me, obviously—but it’s also on Ryder.” You get to the bottom button slowly but surely, trying to pay close attention to his words. This feels… close. Considering you’d offered the check-up purely out of worry, this is all more intimate than you’d expected.
You tilt your head. “Because he was saying all that stuff about the…”
“Eyefucking, yeah. And I’m sure it was uncomfortable for both of us to get a load of that in front of all of our coworkers. I didn’t wanna make it a thing, so I just… I was driving angry, which is never a good thing,” Colt says, “He has no class.”
“It’s Ryder, you know? It’s not like his words really ever carry any weight,” you say. Your priority still is to make sure Colt’s shoulder isn’t too screwed up, but it also doesn’t hurt to test the waters. You pop the last button off and try to help him shrug off his dress shirt. It’s difficult not to feel a little shifty in your abdomen when your fingertips slide down against Colt’s bicep; you make sure to fold up the shirt semi-nicely before tossing it down with the tie.
When you turn, Colt in his undershirt and the dress pants looks almost boyishly guilty. You narrow your eyes, “Okay, turn around. Lemme see it.” And Colt does as you say, spinning around to show you his back. His shoulder is splotched purple and green, pigmented all across his shoulder blade. “Fuck, Colt.”
“It always looks worse than it actually is. Stunts 101.” He’s trying to make you laugh, but you’re much too focused on the bruising. He steps away as soon as you ghost your fingers over his skin. Colt’s grabbing an ice pack from his mini fridge and bringing it over his shoulder. “And I should probably use right now as an opportunity to reassure you that I wasn’t trying to eye-fuck you,” Colt says. It’s a contradiction: you can see his eyes flashing down and back up. “Unless, obviously, you wanted me to. Then, it’d be a whole different story. But—”
You kiss Colt, crashing your lips against his, and he practically hurls the ice pack away to hug his arms around your waist. Given the chance, he would’ve gone through a whole spiel of telling you that he respects maintaining a professional relationship. But, now, you’re really laying it all out on the table. Your hands are coming up greedily to cup his face, and he’s sliding his hands up and down your lower back. He tastes like spearmint gum, and his face is burning up the longer you’re close to him.
Colt pulls back only for a moment to look at you; his pupils are dilated beyond repair. “Okay,” he murmurs, “Ryder caught me staring. Good on him for calling me on it.”
“I figured. You’re so easy to read,” you laugh, unable to stifle your amusement. Colt’s not offended at all—only leaning in closer to you. Everything about him seems a little bit lighter after you’ve kissed; he’s standing up straighter, and his hands are coming up to your head. Colt has his nimble, calloused fingers brushing through your hair. It’s a soothing, gentle motion—possibly a distraction—but it’s also romantic enough to placate you. You have to shuffle away a little bit, still locked into Colt’s grasp. “So, can I put in a word with somebody to see if you can get tonight off?”
He drops his hands back down to your waist—the workaholic he is. “If it pleases you, yes. And if it works out, I’ll nap here while you close out, ice my shoulder, and then I can take you out to dinner very, very far away from set. You choose, I pay,” Colt decides, “And we can make out a bit more after dessert. Does that sound good?” He really doesn’t waste any time.
You hum in agreement, hand flattening against Colt’s abs, just under the white wifebeater he’s got on. You can feel his stomach tighten just slightly. Sensitive. “You have me for ten more minutes, and then I’ve gotta go find an AD.”
And cockily, Colt replies, “I’m pretty sure you and I can get a lot done in ten. Don’t you?”
