Chapter 86 – The Little Details
After stepping out of the bathroom, Wayne saw that Halle Berry was still asleep. He called her softly, then turned and headed downstairs for breakfast.
"Morning, Hela. What's for breakfast today?" he asked as he walked toward the dining room.
"There are Chinese-style buns—the security team loves them, says they're like Chinese hamburgers. We've also got fried eggs, bacon, and milk," the housekeeper replied.
Entering the dining room, Wayne saw Nina already seated, eating while flipping through a newspaper. When she noticed him, she handed over a few pages.
"The mainstream outlets are all fairly positive, mostly covering the success of our film," she said. "But the tabloids..." She shook her head with a worried look, glancing at his face.
Wayne had expected as much. He sipped his milk and opened the paper. Sure enough, just as Jeff had warned, the tabloids were full of personal attacks. The term white on the outside, black-hearted on the inside was among the gentler insults. Some even went so far as to call him a traitor.
After skimming through a few lines, he tossed the paper aside—out of sight, out of mind. He focused on enjoying his breakfast.
"Sweetheart, what's in the news today? I bet it's all glowing reviews of our film." Halle Berry yawned as she walked over to Wayne, picking up the glass of milk set aside for her.
She grabbed a copy of the Los Angeles Times from the table and flipped directly to the entertainment section.
"This article is kind of interesting, Wayne. 'Unmissable Details in Get Out!' They're really going into it. Isn't this a spoiler risk?"
Wayne tilted his head and glanced at the article. Media outlets in Hollywood generally had an unspoken rule—no major plot spoilers before a film finished its theatrical run. Especially not a respectable outlet like the L.A. Times.
He scanned through the piece. Sure enough, there were no explicit spoilers—just subtle breakdowns of hidden clues and clever details.
It was the kind of article that sparked curiosity in those who hadn't seen the film yet—and maybe even inspired others to watch it a second time, now armed with new insight.
"This one's actually pretty well written," Wayne said, nodding. "The journalist clearly watched the film carefully."
[Last weekend, the wide release of Get Out smashed Tom Cruise's Far and Away, taking the top spot at the box office with a staggering $49.64 million debut.
Though marketed as a horror thriller, the film is rich with commentary on racial dynamics and laced with sharp, dark humor. Some viewers may have missed key symbolic details on their first viewing—here are some of the most notable ones as compiled by our reporter Bella Grant after attending the premiere:
1. Throughout the film, Rose (the female lead) is always the one driving, not Chris. This ties back to Chris's childhood trauma over his mother's death, which left him afraid of driving.
2. There's a moment when a cop wants to check Chris's ID, but Rose refuses. Later in the film, the reason becomes much clearer—viewers who pick up on this early will experience a satisfying "aha" moment.
3. Dean, Rose's father, mentions during a photo tour that his own father lost a race to a Black athlete in college. That disappointment becomes an obsession with Black physicality—and explains why the grandfather still jogs at night.]
Wayne nodded again. "Good stuff. This writer knows what they're doing. It stirs interest without giving anything critical away."
Nina, who had also read the piece, pointed to the reporter's byline. "Her name's Bella Grant. She's interviewed you twice, remember?"
Wayne stuffed a forkful of scrambled eggs into his mouth and looked at his assistant with mild confusion.
Smack! Nina clapped her hands. "Premiere night—the tall blonde with legs for days and a chest that didn't quit!"
"Oh, of course! I remember now," Wayne grinned. "Honestly, she should be a model or actress. That figure's wasted on journalism."
Nina nearly rolled her eyes. Having followed Wayne around for years, she knew her boss like the back of her hand. Most people overlooked the average-looking assistant who was always by his side—but she noticed everything.
After all, she practically lived at the estate. Given how loud Halle Berry had been the night before—and the couple's fondness for creative games—it was hard not to know. Sometimes, Nina could even see them from the garden if they were on the balcony.
---
After breakfast, Wayne headed out with Nina and Halle Berry to Century City, where Jimmy would meet them ahead of a scheduled photo shoot and interview.
By 9:30 a.m., Wayne found himself standing stiffly like a mannequin in a makeshift studio while a photographer adjusted his posture.
He hadn't changed clothes for the shoot—still clad in his usual dark, well-fitted suit. He'd even refused to wear the tie the stylist suggested. Aside from a light layer of makeup, he looked just as he did on any other day.
He wasn't an actor, after all. Directors were judged by their work, not their looks. He didn't really care how he came across on camera.
Jimmy stayed close during the shoot, quietly briefing Wayne on the upcoming interview.
"I've already spoken with them," Jimmy said. "There shouldn't be any inappropriate questions, but if anything sensitive comes up, you can decline to answer."
Wayne nodded in acknowledgment just as the photographer repositioned him
again for another shot.
The person interviewing Wayne today was Vanity Fair's editor-in-chief, Jenna Pella. She stood quietly in a corner of the studio, silently observing the young director.
He was like a chunk of gold that had suddenly surfaced—not discovered by others, but one that had shaken itself free from the dirt and revealed its own brilliance.
Hollywood was never short on flashes of genius, but most of those rising stars were actors. It was rare to see such meteoric success from a director.
Jenna understood why. It wasn't that directing lacked genius—it's just that the craft required too much accumulated experience. Without a solid foundation of knowledge and years of learning, even the luckiest rookie director would be crushed by the weight of their next project.
She found herself wondering which category Wayne Garfield belonged to. But so far, the answer was clear—he was no lucky fluke. After all, no one gets favored by the gods twice in a row.
Jenna's eyes drifted to the Black woman following Wayne around. Just like the media had reported, she was stunning—even from a distance, it was obvious she was a rare beauty.
But Jenna didn't buy the PR narrative. She didn't believe for a second that Warner Bros. and Wayne Garfield were so kind-hearted that they'd let a woman who once sued them end up as his girlfriend. The whole setup was clearly just a show for the public, especially for the Black community.
Fairy tales did exist—but never in Hollywood. This place was full of women who played the long game, trying to cling to success. And when they failed, they were the ones left to suffer the fallout.
"Okay, we're good! Thank you for your cooperation, Director Garfield!"
The photographer's voice rang out, and Wayne finally let out a breath of relief. He felt like a life-sized doll, molded into countless poses under the bright lights.
He gave the photographer a polite nod, then walked over to Nina and grabbed a glass of water, gulping most of it down.
"When you go in, we'll be waiting out here," Jimmy said, using the moment between shots to offer one last reminder while Wayne's makeup was being touched up. "If there are any tricky questions, call for me. And remember—if race comes up, just steer it back to the film."
Wayne wiped his mouth and nodded. "Got it. If things go sideways, I'll pause and get your input."
As he responded, his eyes had already shifted to the woman approaching him.
"I'm Jenna," she said, smiling warmly and offering her hand. "I'll be conducting your interview today, Director Garfield. If you're ready, we can begin."
She was dressed in a professional yet carefully tailored outfit. Wayne immediately noticed that the skirt had been deliberately shortened to reveal long legs in sheer stockings. Though she was clearly over thirty, her face and figure were impeccably maintained.
Wayne took her hand gently and smiled. "Call me Wayne. We can start whenever you're ready."
Jenna led him into a private room at the back of the studio. Wayne quickly realized it was designed specifically for interviews—just two cozy armchairs and a small coffee table between them, nothing more.
They sat facing each other. Jenna pulled out a leather notebook and a pen, while a small video camera was already recording from the side.
"Shall we begin?" she asked with a friendly smile.
"Sure, go ahead."
Jenna glanced at the camera briefly, then turned back to Wayne with a welcoming tone.
"Director Garfield, congratulations on your latest film Get Out topping the box office last weekend. That makes two number-one openings for you, doesn't it?"
Wayne nodded. "Thank you. Yes, that's my second."
He was never shy about his achievements. In this industry, false modesty was neither expected nor respected.
Jenna checked her notes, where the film's box office stats were already jotted down. Then she leaned in slightly, voice warming.
"The film had a massive breakout on its opening weekend—did you anticipate such success in advance? Especially considering how modest the production budget was?"