by Hugh Fraser
I turn the car round and follow them at a distance as they go towards the centre of town. I almost lose them a couple of times but manage to stay with them. We go past the Town Hall which is a big building with pillars across the front that looks more like a Roman temple than a council building. I catch sight of a poster that says Dizzy Gillespie is playing there, and I’m glad I’m not going. The Zodiac turns off, goes down a hill and pulls up outside a shop called Chetwyns, that has Mod suits in bright colours and short Crombie coats in the window. Brindle and the lads get out of the car and he’s rather dwarfed by Gerry and the other three as they walk past the shop five abreast and looking dangerous.
I drive past in time to see them turn a corner and go into a doorway. I leave the car and walk back, just as a couple of girls in flared skirts and halter tops get out of a taxi and go to the same door, where a bouncer checks them out and then lets them in. I put my hands in my raincoat pocket and go back to the car, wondering if I’m wasting my time trying to do Brindle on his own manor, where he’s obviously well protected and where I’m known to him and a few others. My only chance would be to pick him off in the street, which is about as dangerous as it gets, and where there’s no chance of getting rid of the body, which is the vital part of a sound hit.
I start the engine and drive back to the hotel. As I go through the front door and walk past the bar, I see Mike, Ed and Jean sitting together. They’ve got their backs to the door so I go straight to the lift and call it. As I climb to my floor it occurs to me that Brindle was on his own when he left the gasworks location and that he never had anyone with him when he was filming in Hoxton either. By the time I get to the room, I’ve decided how I’m going to get to him.
16
I pick up the phone, dial reception and ask to be put through to the bar. While I’m waiting to be connected I realise that I don’t know Mike’s surname so when the barman answers I ask for Jean Craven. When she comes to the phone I say who I am and ask if I can speak to Mike. There’s a pause and then he picks up.
‘Rina, my dear girl, how nice to hear from you. How are you?’
‘Very well thanks.’
‘How can I help?’
‘You know that part in the film that you talked to me about?’
‘Tell me you’ve had a change of heart!’
‘Well…’
‘You have?’
‘Yes.’
‘That’s fantastic!’
‘If it’s still…’
‘It certainly is. I cast someone and we shot one scene but it didn’t work out. I wasn’t happy, neither was she, and we’ve just agreed to part, so this is perfect timing.’
‘I thought about it and…’
‘I’m very glad you did and I’m delighted you want to do it. Jean said you were up here to see Johnny and I was going to have another go at persuading you. Would you mind doing a short test? I’m sure it’ll only be a formality but I just need to show it to Don, our producer, who keeps us all fed and watered.’
I’m wonder what the hell I’m letting myself in for and thinking I must be mad, but I can’t pull out now.
‘Yes sure,’ I say.
‘Could you come to our hotel? We’re at the Grand on Colmore Row.’
‘I’m here now.’
‘Oh that’s wonderful. Hold on one second darling.’
He puts the receiver down and I can hear the buzz of conversation in the bar and the odd chortle and laugh before he picks up again.
‘Ken the cameraman is here and so is Jean. If you’d be willing to have a look at a short scene, Jean could bring the pages to you in your room and explain a bit about the context, and then if you’d like to come along to mine in about half an hour, I’ve got a Super 8 video camera and a cassette recorder and we can put something on tape. There’s no need for you to learn the lines, you’ll be able to read them. Don’s coming up later and I’ll be able to show it to him when he arrives and with any luck we can wrap it up tonight.’
‘Sounds good,’ I say, even though my stomach’s just turned over twice.
‘Excellent. I’m in 243. See you soon.’
I put the phone down, sit on the bed and try to calm down. It’s only a silly film and I’ll probably fail the test anyway but if I get the part I’ll be near to Brindle without his heavies in the way, which is my best chance of finding a way to off him and get away with it. I change into the lurex mini dress that I got in Rackhams earlier and wish I’d bought some shoes. I put on some make-up and I’m just brushing my hair when there’s a knock at the door and Jean’s there with a script under her arm. She looks pleased to see me.
‘Mike is so excited about this,’ she says.
‘I only hope I’m worth it.’
‘Have you done a test before?’
‘I’ve never acted.’
She looks at me for a moment. ‘If Johnny’s anything to go by that’s probably a distinct advantage on this one.’
We sit down and she opens the script and takes a couple of loose pages from the front of it. ‘The main character is called Mary, and you’re playing Ella, her younger sister.’
‘A lingerie model?’
‘That’s right. In this scene, Ella has come to see Mary and finds her with a black eye and bruises and the baby crying in its cot. She comforts the baby and asks Mary what happened, but Mary won’t tell her anything at first. Ella guesses that Challoner, that’s Johnny, has hit her and Mary admits that he has. Ella takes her and the baby to their mother’s flat in Islington, to get them out of danger.’
She passes the pages to me and I read through the scene. The words all make sense and when I look at the description of her calming the baby down I’m reminded of our Jack when he used to wake up in the night in the bed that he shared with me and Georgie, and how I used to pick him up and take him into the kitchen and give him a bottle, so as not to wake Georgie.
‘Would you like to try some lines?’ asks Jean.
‘I would,’ I reply.
‘OK,’ she says.
I look down the page at the lines with Ella in front of them and Jean opens the script and finds the place. ‘So, you’ve arrived at the door, which is unlocked, you hear the baby crying and let yourself in. Mary’s slumped on the sofa and…’
“Oh my Christ!” I read.
‘And you go and pick up the baby,’ says Jean.
She looks at me and I think of our Jack and read on. “There there, it’s all right my love… mmm… up you come… there there. Auntie Ella’s here and everything’s all right.”
‘Mary wakes up and you see her black eye,’ says Jean.
“What’s happened to you?” I read.
“I had a fall,” says Jean.
“Do I look stupid?” I reply.
We read on through the whole scene and by the end I’m quite enjoying it, especially when she starts slagging Challoner off and calling Mary a mug for taking it.
‘You’re a natural,’ says Jean.
‘Was that OK?’
‘I’ll say.’
She closes the script and stands. ‘Shall we go to Mike’s room?’
I look down, see that I’ve still got my boots on and remember that I’ve got nothing else to wear with this dress. I can see that Jean’s feet are about the same size as mine. ‘You couldn’t lend me a pair of shoes, could you?’
‘Certainly I can. My room’s on the way to Mike’s,’ she says, as she opens the door.
I pick up my pages and follow her. We go up one floor in the lift and along to her room where she offers me a pair of low heels that work with the dress. They’re a bit tight but they’ll do. Jean gathers up my boots and we take the lift to the top floor.
Mike ushers us in to his luxury suite and I say hello to Ken who’s sitting on the sofa fiddling with a video camera. Mike offers us a drink and I’m glad to accept a whisky which I knock back in a couple of swigs while he’s showing Jean how to work the cassette recorder. When Jean’s got the idea, Mike offers her a chair
.
‘How are we doing Ken?’ he asks.
‘Ready to go,’ says Ken.
‘Did you have a look at the scene Rina?’
‘I did.’
‘Are you happy with it?’
‘I think so.’
‘Shall we give it a go?’
‘May as well,’ I reply.
He goes and stands beside the door. ‘So. You’ve heard the baby crying from outside the door and you come in, look around, see him in his cot and go and take him in your arms,’ he says, indicating an upright chair with a cushion on it. ‘Ah, sorry,’ he says, picking up the cushion, ‘I should have introduced you. Rina, this is your niece Amanda.’
‘Pleased to meet you Amanda,’ I say, shaking hands with a corner of the cushion. Jean and Ken chuckle encouragingly as Mike goes on. ‘Then you see Mary, on the sofa, and you cross to her, still holding the baby, and we have the rest of the dialogue. Jean will be on the sofa giving you Mary’s lines and holding the script up for you to read the words.’
I nod in agreement. Jean moves into position and Mike goes to the middle of the room. ‘Ken if you’re somewhere here and panning with Rina, so we get her full length, then we can go again, with you in closer.’
‘Sure,’ says Ken.
‘Right. If you’re ready Rina?’
‘How do I read the lines for the first bit with the baby?’
‘Good point, yes.’
‘I can be behind the chair with them and then move to the sofa?’ says Jean.
‘Will that work for you Rina?’
‘I think so.’
‘Good. Then let’s try it. I’ll say “action” when you’re outside and you come in when you’re ready.’
I go and stand in the corridor and when I hear him say the word, I think of our Jack, then I go in and pick up that cushion.
By the time we’ve done it again for the close-ups and he’s played them back on the camera, Mike is in a lather of excitement and convinced I’m the new Marilyn Monroe. Considering she topped herself a couple of years ago, I’m not sure it’s quite what I want to hear. He’s looking at the shots again and playing the cassette recording back when the phone rings and he picks it up.
‘Don! You’ve made it… I’ve got something to show you… 579?… Stay there and I’ll come to you.’
He picks up the camera and the cassette recorder and heads for the door. ‘Help yourselves to drinks. I’ll be back soon.’
We pour drinks from a good collection of spirits and beers on a side table and sit back with our glasses. Ken takes a swig of his lager. ‘Have you worked with Mike before?’ he asks.
‘No,’ I reply.
‘This is Rina’s acting debut,’ says Jean.
‘You could have fooled me,’ says Ken.
‘Thanks.’
‘What you did was really smooth.’
‘I’m glad you think so.’
He seems like a straight up bloke, so I feel good hearing this.
‘You know Johnny?’ he asks.
‘I do, yeah.’
‘He’s enjoying himself now he’s got into his stride. Quite the leading man, eh Jean?’
‘Oh yes. Did he tell you about the agent who’s after him Rina?’
‘No, he didn’t mention it.’
‘International Talent want to sign him.’
‘ITM are good, aren’t they?’ asks Ken.
‘One of the best, I believe.’
‘That’s nice,’ I say.
‘I bet Henry’s not pleased,’ says Ken.
‘Slightly tinged with green, I’d say,’ says Jean.
‘He’ll probably come in wearing that gold medal he won at Rada.’
I wonder who they’re talking about until I remember it’s the actor that Brindle smacked in Hoxton.
I’m becoming aware of Ken’s eyes lingering on my legs when the door opens and Mike comes in followed by a tall, good-looking man with black slicked back hair and dark brown eyes, wearing a sharp suit and a silk tie.
‘Don, this is Rina. Rina, this is Don Keeble, our executive producer.’
Don shakes my hand and flashes a smile. ‘A great pleasure to meet you. I just saw your test. I loved it, and I want to welcome you to the show.’
‘Thanks,’ I reply.
The door opens and Ed enters. Mike turns to him, ‘Ed, just so you know, Rina is now playing the part of Ella.’
Ed shakes my hand. ‘Glad to hear it.’
Mike looks at Don. ‘We’ll need to reshoot Rina’s scene at Hoxton.’
‘Of course, but you’re going back there anyway.’ says Don.
‘I’m afraid not,’ says Ed.
‘What?’ says Mike.
Don turns to Ed. ‘What are you talking about?’
‘I’ve just had a call from Lenny. The owner’s pissed off about the way we left the place, apparently there’s some damage. He’s changed the locks and won’t let us back.’
‘Oh for fuck’s sake!’ says Mike.
‘The good news is that the exteriors at Hoxton are all fine and Lenny knows a house up here that’ll be a match for the interiors,’ says Ed.
‘Where is it?’ asks Don.
‘Erdington,’ Ed replies.
‘When can you get in there?’
‘Anytime.’
‘You finished the exteriors at Hoxton didn’t you?’
‘We did.’
‘How long to reshoot the interiors, including Rina’s scene?’
‘Two days?’
‘Mike?’
‘Should be enough,’ says Mike.
‘You’ve finished at the gasworks?’
‘Yes.’
Don turns to Ed. ‘Can you get into the Erdington house for the reshoots tomorrow?’
‘We can.’
‘Then get it organised.’
‘Will do,’ says Ed.
‘That’ll put you two days late starting at the high rise in Islington,’ says Don.
‘Shouldn’t be a problem. The Islington flat’s empty,’ says Ed.
‘Good. The second unit can pick up Rina arriving at Hoxton when she’s not needed in Islington.’
‘As long as the owner…’
‘Fuck him! Just get over there with a tripod and steal it!’
Everyone laughs and Don gets up to leave. ‘Really glad you’re with us Rina, I look forward to seeing more of your work.’
We shake hands and he leaves. Mike closes the door behind him. ‘OK, so we move the unit to Erdington in the morning and hope to be ready to start after lunch. We’ll shoot the scenes in story order which means that we should get to Rina’s scene, which is the one we’ve just done, sometime in the late afternoon. Ed will arrange a car for you at about one o’clock Rina, which should give you time to read the script and learn your scene.’
‘If you’ll excuse me, I’ve got some calls to make,’ says Ed, as he heads for the door, followed by Ken.
‘Jean darling, would you be an angel and see if Deidre’s around so that she can talk to Rina about costume?’ asks Mike.
‘Certainly,’ says Jean and goes into the bedroom, as Mike goes on. ‘Colette will be taking care of your makeup Rina and she’ll be at the location when you get there.’
‘Right,’ I say.
Jean opens the bedroom door with the phone in her hand. ‘Deidre would like to see Rina in her room now so that she can take her measurements and talk about clothes.’
‘Is that all right with you Rina?’ asks Mike.
‘Yes.’
Jean tells Deidre we’ll be along shortly, puts the phone down and rejoins us.
‘Any questions Rina?’ asks Mike.
‘Not at the moment,’ I reply.
‘Very good,’ says Mike, as he opens the door. ‘See you all on the morrow.’
I slip out of Jean’s shoes and give them to her, then I put on my boots and we walk along the corridor to the lift.
‘How are you feeling?’ she asks.
‘A bit nervous.’
>
We get into the lift and she slips her arm round my waist. ‘You’re going to be fine. I promise you.’
Deidre’s room is two floors down and she opens the door in her dressing gown, smoking a cigarette in a holder.
‘Sorry to be a bit déshabillé ladies, I was about to go to beddy byes. These early starts will be the death of me. Do come in, won’t you?’
She stands back and we go into her room, which smells of booze. The TV’s on with the sound turned down and there’s a half empty bottle of gin beside it which Deidre picks up.
‘Care for a drinky?’ she says, pouring herself one. I can’t stand gin so I shake my head.
‘I’m going to leave you to it,’ says Jean. ‘I’ll see you both in the morning.’
‘I gather we’re in sunny Erdington,’ says Deidre.
‘It’s standing in for Hoxton,’ says Jean.
‘Where the fuck is Erdington?’
‘No doubt we’ll find out. I’ll see you tomorrow Rina.’
Jean takes a script out of her bag, passes it to me and makes a quick exit. Deidre downs her gin and gives me a big smile.
‘So. You’re Ella mark 3.’
‘Yes.’
‘Can’t say I’m sorry to see the back of the last one. Right little madam. Anyway darling, you’re taller than her and so I’m afraid we’ll need to start again, although I rather like what you’re wearing.’
‘I got it in Rackhams this morning.’
‘Did you now?’
‘They’ve got some good stuff.’
‘And it’s a perfect fit.’
She pours herself another splash of gin. ‘Why don’t we go to Rackhams in the morning and kit you out? We need three outfits and some undies. It’s going to bend my budget, but if they will recast… What time are you called tomorrow?’