gave you a hard time.â He strode towards the twin doors.
âWait. Get help first. There were a whole bunch ofââ The rest of her words trailed away.
Beyond the doors, there it was. In all its glory . . . well, what would be glorious once the set was lit and dressed correctly for the camera. Beth followed Alec Reed into a decidedly modest studio. A better description than âmodestâ, however, would be âpokeyâ. The room had little in it other than a flimsy wall of hardboard, painted to look like brick. A mat of dark material had been laid out, which should pass for a road. A horse-drawn cart (without the horse) stood before the âwallâ.
âBut the set for Whitby was amazing. Really, really good. So authentic.â Beth shook her head. âIf I didnât know better, Iâd swear Iâd walked into the real town.â
âThereâs only this set, Miss Layne. And this is for a dramatization of a Charles Dickensâ story being filmed here this week.â
âThere must be a door to the other set.â
âThere is no other set, Miss Layne. Thatâs why weâre filming on location in Whitby. I fought tooth and claw to do that, otherwise weâd have ended up with piffling cardboard cut-out houses, that are as authentic as this so-called London street.â
âIâve gone mad,â Beth said with absolute clarity. âMad as the March hare, because there were streets here, and cottages. Even smoke came out of the chimneys â inhale: you can still catch some of it.â
âThat smells like pipe tobacco to me, Miss Layne. Itâs wafting in from the executivesâ boardroom next door.â His single good eye focused on her face. âEven though I donât believe in your manifestation of Whitby in this very building, I do believe youâve had a nasty experience. Your elbow looks quite sore, you know.â
âI had noticed, thank you.â
âYou really have worked with Cary Grant?â
âI served him a dry Martini in a movie. Now I wish it had needed a dozen takes. We did it in one. But I have my five seconds on-screen with the great man himself. He even smells as good as he looks. Acqua di Parma; an aftershave; itââ
âYouâre trembling.â
âIâm also babbling about Cary Grant, arenât I?â
The anger left him now. âCome on, weâll go somewhere quiet for a coffee.â
âIf youâre firing me, do it here.â
âFiring you?â
âFor suggesting youâre a raging liquor lover.â
âNo. Iâve a proposition. One, I trust, that you will find as irresistible as it is fascinating.â
He held open one of the swing doors for her. In the back of her neck blew a cold, damp breeze.
What if I turn round and I can see Whitby again? If I can, that proves Iâm mad, doesnât it?
Salty ocean scents, laced with odours of raw fish, crawled up her nostrils. She could almost hear the distant whisper of surf. At that moment, she knew Whitbyâs Church Street would be there waiting, as cold as a tomb, if she glanced over her shoulder. Clenching her fist, and resisting the urge for that last backward look, she walked out into the corridor. She only allowed herself to breathe again when the door closed firmly behind her.
Three
Alec Reed ushered her into an office so flamboyantly untidy she wanted to describe it as sexy. A pair of typewriters faced each other across a large table, as if eager to fight a duel. Scripts were piled on shelves. One wall was devoted to large sheets of paper on which had been drawn the storyboard of the script. And above that, a banner proclaimed
This Midnight Realm
. On the table: empty cups, beer bottles, ashtrays crammed full of cigar butts. Tellingly, a bottle of gin, half empty, stood by a typewriter. Beth could still smell that particularly distinctive spirit on Alecâs breath.
Alec