A Night in With Audrey Hepburn by Lucy Holliday
A Night in With Audrey Hepburn by Lucy Holliday
A Night in With Audrey Hepburn by Lucy Holliday
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*
Olly is not currently at his catering van. He wasnt there
when I fetched my rst bacon roll before going to Wardrobe
at eight this morning either, so when I reach the head of
the queue, I ask his sous chef, Jesse, if hes all right.
Hasnt he called you? Jesse asks, squirting ketchup
onto three waiting rolls hes just nishing off for Liz,
the production assistant (pretty, blonde, and Dillonready in a crop top and skin-tight jeans, so I can only
assume the bacon rolls are actually for some hungry
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into her Cat Person costume, for the show, but with a
few little tweaks that only a certiable man-eater like
Cass is truly capable of. Shes unzipped the front of the
skintight jumpsuit down to a near-pornographic level,
replaced the regulation black Dr Martens with and I
can only assume she either brought these with her this
morning, or borrowed them from a streetwalker a little
closer to Kings Cross a thigh-high pair of stilettoheeled boots, and coated her mouth in what is surely
the entire contents of a tube of Nars Striptease lip gloss.
Part of me wants to applaud her for such brazen,
no-holds-barred chutzpah.
A much larger part of me wants to rip off her thigh
boots and beat her over the head with them.
Because Dillons hand has just dropped off my
shoulder. And Ive just dropped off his radar.
Oh, my God! Cass squeals, clasping her hands to her
mouth and doing a pretty decent performance of
Distraught Woman. Libby! My darling sister! What
happened?
Your darling sister set re to her fucking head,
Vanessa snaps. Costing me six hundred quid for a
replacement costume in the process.
Oh, my God! Cass says, again. (Her performance
might be decent, but the script has its limits.) And your
hair, Libby! What have you done to your beautiful,
beautiful hair!
Which would be a nice thing for her to have said, if
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it werent for the fact that I suspect its just a vehicle for
her next trick, which is to break down in melodramatic
sobs and clutch a hand to her (ballooning) chest, as if
shes about to swoon.
Woah, there! Dillon slips an arm around her waist.
Lets go and get you a hot, sweet cup of tea.
The same hot, sweet cup of tea that he promised me
a moment ago. And which, I cant help but notice, the
entire leering gang of crew members is practically leapfrogging each other off the bus to fetch for her.
Im sorry! Cass gulps. Its just such a terrible shock . . .
Oh, for crying out loud, Vanessa mutters, which actually makes me feel quite fond of her all of a sudden.
Of course it is, sweetheart, Dillon is saying, in a
melted-dark-chocolate tone quite unlike the one he was
using while he was chatting to me. You just need that
tea, and a nice sit-down . . .
I do, Cass replies, dabbing prettily at dry cheeks. I
do need a lie-down.
You have to give it to her (and Dillon, no doubt, will
do exactly that), shes good at this stuff. The Damsel in
Distress act (when Im the only one round here whos
got any reason to be in distress); the subtle hint that
shed rather be lying down than sitting . . .
Im Dillon, by the way, Dillon is murmuring, putting
a hand in the small of her back and steering her in the
direction of the leap-frogging crew members on their
way to Ollys catering truck.
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And Im Cassidy . . .
Vanessa and I watch them go, united for once in
irritation.
Your fucking sister, says Vanessa.
To agree would be disloyal; to disagree would be rank
hypocrisy. So I dont say anything.
Youre all right? she asks, gesturing at my burnt hair.
Not actually injured or anything?
No, Im OK. Im touched that shes concerned. But
thanks, Vanessa, and Im really sorry again about
Good, she says, briskly. Then I dont need to get the
rst-aid guys over before you leave.
Leave?
The shoot. The show, in fact.
I stare at her. Youre . . . ring me?
Well, of course I fucking well am. Youre lucky Im
not also charging you for the costume youve just
wrecked.
But I . . . this was meant to be my big . . . I mean, I
need the money for my rent . . . And my mother is going
to . . .
None of that is my problem. She turns on her heel.
Sorry, Libby, she adds, in a at tone of no regret
whatsoever. But can you please just return the costume
to Wardrobe and get off my set?
Theres absolutely no point in arguing. All I can do
now is do as she says and get out of here while I still
have my dignity.
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