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didn’t hear any rumours that she was friendly with any of the actors. But as I didn’t know her socially, I wouldn’t have been aware if she was seeing anyone on her days off or entertaining anyone in her trailer.’
    ‘We’ll need to have access to her trailer,’ Simon pointed out.
    ‘I was told you wanted to, but have you any idea how long it will be, before someone else can move into it? Only we are re-shooting her scenes and there are things in there we may need to use.’
    ‘As long as necessary. We’ll also require a trailer for our use, as we have two more officers joining us, and we’ll need somewhere we can debrief together at the end of the day.’
    ‘Sure, I’ll see what I can set up.’
    ‘Have you replaced her?’ Anna asked.
    ‘Not yet, officially. We’re waiting to hear about the insurance situation. In the meantime, we’re using her double. Thankfully we only have another five days’ filming, so I doubt if we’ll re-shoot all the scenes we have in the can . . . we’ll shoot around her.’
    Reynolds’s radio bleeped and he excused himself to answer the call in the corridor outside his office.
    Simon glanced at Anna. ‘They don’t waste time, do they? Already replaced her,’ he observed.
    A balding man appeared at the door, wearing a heavy Puffa jacket and jeans with suede loafers.
    ‘Aiden Brook, producer,’ he said, holding out his hand. ‘This is disastrous. None of us can take in what has happened and as the producer it’s a nightmare. I am just stunned. I was looking at the dailies in my office and thinking how lovely she was when I was told. I would have been here to take you round, but I’ve had the backers onto me. I’ve no need to tell you what this means to the movie. Without Amanda, it’s inconceivable that we can continue, but I have to do what I can to salvage . . .’
    He looked them both in the eye. ‘Do you mind if I leave you with Mike Reynolds, as I’ve got meetings to sort this all out. I’ll be in the production trailer.’ He paused. ‘Do you know who killed her?’
    ‘Not yet,’ Anna said.
    ‘Dear God, I’ve a daughter her age – twenty-four – thankfully not in the business. That’s all I could think of when I was told, my daughter. First thing I did was call her to make sure she was safe, but now, it’s really hit home.’
    ‘Where were you?’ Simon asked.
    ‘You mean, after we finished filming here?’
    ‘Yes.’
    ‘Well, I stayed on to look at some of the rushes the editor had knitted together. We were worried about a stunt from the previous night. We worked for about an hour after we stopped filming, then I went home to Chiswick. Crashed out – night shooting takes the stuffing out of you. My driver is Tony. He took me home and brought me back . . .’
    Brook went to the door, saying, ‘Feel free to have lunch or whatever you need. Now if you’ll excuse me . . .’
    Reynolds returned and passed over some sheets of paper.
    ‘These are lists of the entire crew. It’s a good day to interview them as we’re filming up on the next floor. If you want to see the set, I can get someone to show you around the place. It’s a Victorian Scotland Yard set, really terrific, probably miles apart from the kind of place you’re used to working in. Nothing high tech about it, just battered old typewriters and an ancient telephone system. Our main location is in a hangar half an hour’s drive away, but this here is the main unit base.’
    ‘Who on the list you’ve given us would Amanda Delany have been on friendly terms with?’ Simon asked.
    ‘Start with the star actors. I don’t think anyone from the crew was that friendly. Maybe her driver Harry James could give you more information.’
    Anna and Simon followed Reynolds into the corridor. His radio bleeped again; he was wanted on the set. He agreed to them having a chat to the other staff in the production offices as long as they avoided going on set during filming.
    ‘He’s very