FALLING STAR
Patricia Moyes
FELONY & MAYHEM PRESS • NEW YORK
CONTENTS
CHAPTER ONE
CHAPTER TWO
CHAPTER THREE
CHAPTER FOUR
CHAPTER FIVE
CHAPTER SIX
CHAPTER SEVEN
CHAPTER EIGHT
CHAPTER NINE
CHAPTER TEN
CHAPTER ELEVEN
CHAPTER TWELVE
CHAPTER THIRTEEN
CHAPTER FOURTEEN
CHAPTER FIFTEEN
CHAPTER SIXTEEN
CHAPTER SEVENTEEN
CHAPTER EIGHTEEN
Born in Dublin in 1923, Patricia (“Penny”) Packenham-Walsh was just 16 when WWII came calling, but she lied about her age and joined the WAAF (the Women’s Auxiliary Air Force), eventually becoming a flight officer and an expert in radar. Based on that expertise, she was named technical advisor to a film that Sir Peter Ustinov was making about the discovery of radar, and went on to act as his personal assistant for eight years, followed by five years in the editorial department of British Vogue.
When she was in her late 30s, while recuperating from a skiing accident, she scribbled out her first novel, Dead Men Don’t Ski, and a new career was born. Dead Men featured Inspector Henry Tibbett of Scotland Yard, equipped with both a bloodhound’s nose for crime and an easy-going wife; the two of them are both a formidable sleuthing team and an image of happy, productive marriage, and it’s that double picture that makes the Tibbett series so deeply satisfying. While the Tibbett books were written in the second half of the 20th century, there is something both timeless and classic about them; they feel of a piece with the Golden Age of British Detective Fiction.
Patricia Moyes died in 2000. The New York Times once famously noted that, as a writer, she “made drug dealing look like bad manners rather than bad morals.” That comment may once have been rather snarky, but as we are increasingly forced to acknowledge the foulness that can arise from unchecked bad manners, Inspector Henry Tibbett—a man of unflinching good manners, among other estimable traits—becomes a hero we can all get behind.
CHAPTER ONE
“HAVE ANOTHER COFFEE, Pudge,” said Keith Pardoe. “It can hardly make you any fatter.”
We were having lunch in a small Italian restaurant in Soho—Keith and Biddy and myself. As he spoke, Keith tipped his chair back and stretched his legs in the loose-limbed, graceful way that comes easily to a man who is six-foot-two and as thin as a piece of string.
I tried to suppress my annoyance. “No, thank you,” I said quietly. “We haven’t time. If you remember, the call is for two o’clock at the location.”
As soon as I started to speak, I knew that I sounded pompous, which had not been my intention. I often think that there is no way for a young man as stout as I am to avoid appearing pompous, especially if he has the added disadvantages of a pink-and-white complexion and very fine fair hair with such a tendency to recession that he is half-bald at twenty-eight. The only alternative to pomposity seems to be to turn oneself into a buffoon, and that I am not prepared to do. On some days I feel that there must be a middle course; on others I admit that there is not. This was one of the other days. I was in a bad temper, I agree, and I was not put into a better humor by seeing Keith and Biddy exchange the briefest of amused glances.
“Oh, come now, Pudge,” said Biddy. “You’re too conscientious. It’ll be hours before Sam’s ready to shoot. I’m going to have more coffee.”
“Anyhow,” added Keith, putting the finishing touches to his insult, “there’s nothing useful you can do down there. Not at this stage,” he added, rather hastily. He must have noticed the expression on my face. I was aware myself of a mounting flush of irritation, which I was powerless to check.
“I would like to know at what stage you consider I might be useful,” I said, “if not now. After all, I am responsible for the budget of this film.”
“And a very fine budget it is, too,” said Sam Potman’s voice in my left ear.
I turned round, surprised and not overpleased. I had hoped to be free of Sam at least during the lunch break, for he had announced that he had business to do and would take a snack at a coffee bar; but there he was, lounging up against the wall behind my chair, smoking one of his nasty little cheap cigars.
“Carry on, Pudge,” he said, waving one stubby hand in the air. I could not help noticing that his fingernails were black. “We’re all lost in admiration. I could sit and look at that budget of yours for hours. In fact, I frequently do.”
“I don’t suppose it ever occurs to you to try to keep your expenditure within it,” I said. This time the flickering glance was three-pronged. I felt sure that they were up to something. “I try very hard to be reasonable,” I went on, trying very hard to be reasonable. “I know that you three are artists, while I’m just the fellow who pays the bills. As artists, you are traditionally allowed a certain licence…”
“Oh, balls,” said Biddy. I do not mind admitting that Biddy’s language still shocks me, even after three months of close collaboration with her. It is not just the fact that she is such a slip of a girl, and only twenty-five. She is what my father still has the courage to call “a lady”; not what you would call pretty, but finely bred and fragile and practically quivering with sensitivity and intelligence. This is hardly surprising, considering that she took a first-class degree in English literature at one of our finest universities and is now a successful writer of fiction. What I am driving at is that I could never get over the incongruity of hearing her come out with language that would have shamed a bargee. It was as though my father, in his ermine and scarlet and his gray-powdered wig, were to break into a tap dance on the Bench of the High Court of Justice. I am not, I hope, a prig, and I have nothing against swearing, any more than I have against tap dancing; it is just that one does not associate either with a certain type of person or occasion.
I often wondered whether Biddy’s foul-mouthedness upset Keith. He could be as insulting as the devil, but I never heard him swear. If it did worry him, however, he never showed it; he obviously had the sense to realize that the fact of being married to Biddy Brennan gave him no right to dictate to her. In fact, it never seemed much of a marriage to me. For instance, she had steadfastly refused to take his name, and had been furious when the authorities had insisted on issuing her passport in the name of Mrs. Pardoe—as though there were something shameful about the state of matrimony. But then, Biddy was like that, and you had to take her or leave her.
Now she grinned at me in her most disarmingly gamine manner. “For Christ’s sake, get that chip off your shoulder, Pudge,” she said. “We’ve each got a job to do on this picture. The fact that Keith designed the sets and I wrote the script gives us no more right to throw fits of temperament than the bloody props man.” She stubbed out her cigarette in the saucer of her coffee cup. “If anyone’s entitled to be a bit edgy it’s poor old Sam. After all, the director has to take the final responsibility.”
“I would dispute that,” I said. I was suspicious of Biddy’s sweet reasonableness and her Celtic charm. More than ever, I was convinced that the three of them had planned some spendthrift lunacy behind my back, and it made me very angry. It was not as if they were unaware of our perilous financial situation. “The final responsibility lies, and will always lie, with the man in control of the money. Hard economic facts and figures are a more potent…”
“If anyone’s temperamental in this set-up, it’s Pudge,” said Sam. He pronounced it “set-oop,” stressing the slight North Country tinge in his voice, which he knew irritated me. “Proper little prima donna, he is. ‘How much did that carpet cost?’—‘Why do you need ten extras for the bal
lroom scene?’—‘Couldn’t you have made do with one bicycle?’—I tell you, Bob Meakin fair blew his top the other day, when we were shooting the British Museum interiors. Old Pudge came up and started fingering the coat he was wearing, asking how much it cost and who had authorized the fur lining. Just so happens it was Bob’s own coat that he’d put on because he felt chilly. Took me half an hour to get him calmed down enough for the next take.”
“If you’d rather I didn’t come on to the set at all, Sam,” I said, “you only have to say so. But in that case…”
“Oh, come off it, Pudge,” said Sam, in his unvarying tone of placid amiability. “Can’t you take a joke?”
“With you people it’s sometimes a little difficult to distinguish between a joke and…”
“Shut up, both of you,” said Keith, more sharply than usual. “Things are bad enough, without us fighting amongst ourselves.” He was right, of course, and I am glad to say that Sam had the grace to look somewhat abashed. “How is the Meakin menace?” Keith added. “What news from the battle front?”
I looked up, interested and far from pleased. Nobody knew better than I the various hazards and headaches which were currently plaguing the existence of Northburn Films, Ltd., but it was the first I had heard of any sort of trouble between the company and its star. In fact, I personally had been pleasantly surprised at how easy and reasonable Robert Meakin had proved in his dealings with us. He had the reputation of being a difficult and temperamental character, and I knew that several large companies refused to employ him, in spite of his undoubted acting talent and his great box-office appeal. Trouble with Meakin would mean trouble for us all.
“What’s that about Meakin?” I asked. There was a silence. Once again, I had the sensation of conspiracy, and it was not pleasant. “Well?” I said.
“It’s nothing, Pudge,” said Biddy. I noticed that she had gone rather pink, which was not like her at all. “Just a silly…”
“If you must know,” said Sam easily, “Bob Meakin has taken a shine to our resident genius, young Bridget here. You can imagine the effect that it’s having in some quarters.”
“You mean, La Fettini?”
“That’s exactly what I mean. But don’t worry, it’ll blow over. Biddy’s not encouraging the gentleman, are you, love?”
“I should hope not,” said Keith. He sounded really angry. Biddy studied the toes of her shoes and said nothing. Keith pushed back his chair and stood up. “Well,” he said, “I’m off. It’s ten to two.”
“I’ll come with you,” said Sam. “There are a few points I’d like to discuss with you about the Masterman house interiors. We can walk through Covent Garden. Why don’t you stay here with Pudge for a bit, Biddy?”
“If you don’t mind very much,” I said, “I intend to be at the location at two o’clock. I have received a call, just as you have.” I was damned if I was going to be shouldered out in that casual way.
“Of course, old man,” said Sam, “but it’ll be a good hour before…”
“Correct me if I am wrong, but my call sheet says two o’clock.”
“I know it does, but…”
“The lighting is set up, and you rehearsed before lunch. You only need a final run-through on moves with Meakin…”
“Are you trying to tell me how to do my job, Pudge?” Suddenly Sam sounded quite dangerous, in spite of the fact that he’s only a little mouse of a man. He didn’t raise his voice, but there was a hardness in it that I had not heard more than two or three times before.
“I’m sorry, Sam,” I said. It went against the grain to apologize at that moment, but I could not risk having Sam upset. “I certainly never meant to imply…”
“Oh, stuff it,” said Biddy. “I’d like to watch that scene anyway. Let’s all go together.”
So we all went.
It occurs to me that this is the point to tell you a little more about us, in case you haven’t heard of Northburn Films. There’s been quite a lot about us in the papers recently, what with one thing and another, but at the time I am speaking of we were a new venture and virtually unknown.
The idea of Northburn Films was born in a smoky club off Shaftesbury Avenue in the small hours of a November morning. I was not there myself, of course. The Can is not the sort of place I frequent. It is a club which caters almost exclusively to minor people on the technical side of films—writers, directors, cameramen, set designers, and so forth. Most of the members are either bright young people on the way up or sad middle-aged ones on the way down. The people at the top don’t go to The Can, and I must say that I do not blame them. It has always seemed to me a seedy, depressing place, and I consider its name most unfortunate, in spite of the fact that I am assured that it refers to the tin canister in which exposed film is sealed on its way to the laboratories for processing—hence the expression “to get a shot in the can.”
Be that as it may, two of the bright young members were Keith Pardoe, who had just finished his first big job as Art Director for Superba Films, and Sam Potman, the boy from Bradford whose film Melting Point—made in an iron foundry with an amateur cast—had carried off a prize at Cannes under the noses of the French and Italians. Both Keith and Sam were at crucial stages in their careers. Both had received offers from Hollywood, and neither wanted to go. Each wanted to do the sort of work he enjoyed—intellectual, experimental stuff, the sort of thing a man could only do if he were free to work as he wished. Neither of them could remember, afterward, who first suggested forming a company of their own, but once the idea had been formulated, there was no holding them.
Keith was engaged to Biddy Brennan at the time—which is a euphemism for saying that they were living together in Keith’s flat in Earl’s Court—and she had just hit the headlines with her first novel, The Butterknife. I must confess it was rather above my head—full of symbolism and literary allusions and psychology and so forth—although the story boiled down to quite a simple tale of a girl who was fascinated by an older man because he reminded her of her father. I rather think he turned out to be her father in the end, although I can’t be sure, because I never actually managed to finish the book. Anyhow, it sold twenty-five thousand copies, and Keith found it quite easy to convince Sam that a writer like Biddy was just the person they needed to complete their board of directors.
The snag, of course, was money. All three of them were doing well, but none of them could lay hands on anything like the sum that it takes to embark on even the most modest film. (Melting Point had been sponsored by some federation of trade unions.) Keith and Sam found the City discouraging. Too many financiers had lost too much money on films in the past, and even the big, established companies were not finding it easy to raise funds. Three virtually unknown young people, even if their talents were promising, had no hope at all. And that was where, if you will forgive the pun, I came into the picture.
My name is Anthony Croombe-Peters, although I am generally known as Pudge, for reasons which you will have gathered. The important thing about me, however, is that my father is Lord Northburn, who, as you probably know, is not only an eminent judge but the head of one of the richest families in the land. Being a prudent man, he had recently made over the bulk of his fortune to me in order to escape Death Duties; and while, naturally, he retained a firm grip on the family’s financial affairs, I nevertheless found myself able to dispose of considerable sums in whatever way I chose.
Keith Pardoe and I had done our military service together and had struck up one of those unlikely friendships that form in unpropitious circumstances. If I am to be honest, we never really liked each other, but we settled reluctantly for each other’s company in the absence of more congenial society. I suppose the only thing we had in common was a Public School education; and even this tended to cause more friction than harmony between us, for I was proud of the honorable traditions in which I was fortunate enough to be born and reared, while Keith seemed positively ashamed of his middle-class background, and cultivated what
appeared to me to be a thoroughly self-conscious and bogus pose of bohemianism. Even granted that he was an artist, it always struck me as quite unnecessary to grow his hair down to his collar—which was perpetually sprinkled with dandruff as a consequence—and to omit to wash his neck. However, as I said, a friendship of a sort sprang up between us, but as soon as we were demobilized we went our separate ways with relief, and I had not seen or heard from him for more than five years when he suddenly telephoned and invited me out to lunch. My instinct was to refuse, but I was intrigued by two things. Firstly, he suggested an extremely snobbish and expensive restaurant, the last place with which I would have associated him; and secondly, he told me that he was bringing his fiancée, Bridget Brennan. I had not even attempted to get through The Butterknife at that time, but I was aware of the stir it had caused, and was curious to meet the author. So I accepted.
Keith also told me that he would be bringing a friend by the name of Sam Potman. It was just as well that I had never met Sam at that time, or I would certainly have refused the invitation and Northburn Films might never have been born. I do not mind admitting that I was appalled when I got to the door of the restaurant and saw Keith sitting there at the bar, talking to this small, scruffy individual in a tight blue suit, with oiled-down black hair and grubby fingernails. If I could have slipped quietly out again without being seen, I would have gone straight home and telephoned to say that I was ill. However, Keith spotted me right away, and there was no escape.
In fairness to both of us, I must add that Sam impressed me from the beginning, in spite of his unprepossessing appearance and blunt manners. While he seldom raised his voice, and always maintained an easy, amused tone, as though he took nothing seriously, I soon realized that he was a man who knew exactly what he wanted and how he intended to achieve it. There was no need for him to be aggressive or dogmatic, because he knew, quietly and without hesitation, what he was going to do and how. He had authority, and that is a quality which I recognize and respect. Of course, it took me a little while to grasp all this about Sam, but in the first minutes of our acquaintance he made a gesture which I couldn’t help admiring.
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