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Elena raised her champagne glass to the sky.

“A twenty-four-year-old boy,” Margot said dryly. “But he has the sense to be terrified of us. I’ll fix his dialogue. The question is: will you act in it, or direct it?”

“It’s about two women. One a former ingenue, now a director. The other a legendary actress who’s been blacklisted for speaking out. They collaborate on a film about the last woman executed as a witch in Europe. It’s violent, sexual, and deeply, profoundly angry.”

Elena raised an eyebrow. “Tell me.”

Elena set the glass down. She walked to the mirror, where the harsh bulbs illuminated every line on her face. She didn’t flinch. For decades, she had been told that a woman’s face was a map of her failures—every crease a lost battle with time. Now, she saw it as a landscape. Valleys of grief. Ridges of laughter. The deep canyons of a life fully lived.

“Good,” Elena said. “Maybe their widows will invest.”

The next morning, the reviews were raves. But Elena barely glanced at them. She was on a call with Margot, a third producer (a forty-year-old former child star named Destiny, who had a head for numbers and a heart for revenge), and a financier who smelled money in the “underserved older female demographic”—a phrase he used as if discovering a new continent.

“To the witches,” she whispered. “We’re not burning this time. We’re directing the fire.”

“Neither,” Elena said softly. Then she turned, a smile playing on her crimson lips. “I want to produce it with you. And I want to play the witch.”

“Call it The Last Burning ,” Elena said. “And put my name above the title. Not because I’m a star. Because I’m a warning.”

Margot Chen, sixty-three, slid inside. She was a producer, one of the few with enough power to greenlight a film without a male partner’s signature. Her hair was a sleek silver bob, her suit impeccable. She held two flutes of champagne.

“Come in, Margot.”

At fifty-eight, Elena Vasquez was a survivor. She had survived the studio system’s casting couches in the 80s, the “aging out” panic of her thirties, the cruel memes about her facelift in her forties, and the glorious, unexpected renaissance of her fifties playing a ruthless matriarch in a prestige drama. Tonight, she’d opened in a one-woman show about Georgia O’Keeffe. The reviews would be out by morning.

Margot’s eyes widened, then sparkled with avarice. “Two mature women producing a violent, sexual art film about a witch. The boys in finance will have coronaries.”