Fade to Black by Steve Mullins

Author:Steve Mullins
Language: eng
Format: epub
Tags: fade to black, steve mullins, contraband, saraband
Publisher: Saraband
Published: 2015-10-12T16:00:00+00:00

Chapter Fifteen

It was mid-afternoon before I got up next day. I’d woken hours earlier and lay uncomfortably on the couch through a battery of messages as everyone rang to congratulate me on the deal. I didn’t pick the phone up once, wasn’t tempted even when Harry called. Absolutely fantastic news. Proud of you, Bro.

I did, though, keep rereading the letter Meaghan had posted me from Heathrow. I enjoyed looking at the shape of her lettering, the beautiful curlicues that almost sang out. She hadn’t written a lot, but I felt the need to put as much meaning as possible into what she’d given me. Root, I have to get out. Will be in touch about next moves. Now, moves sounded very dramatic, and I imagined her clearing the place, me standing useless as the truck made off, took with it what had been ‘us’. But, really, moves could mean nothing less than she had decided to take the job in Austria. Now, while I wasn’t sure I wanted to be with Meaghan, I didn’t want to be without her. If she went to Vienna, I’d barely see her, if at all. I added to the mix the fact I’d spent a few hours screwing Minona – being screwed by Minona? – and factored in my hanging pointlessly outside Harry’s place. What the thinking time on the sofa made me realise at last was that En Root Wilson had become horribly derailed.

I spent a day last week on location. The film is called Gunwhale, and is one that those in the know reckon will be this year’s Brit sleeper. The shoot was over in the southeast on the Gunwhale Estate, a soon-not-to-be set of council flats close to the river. It’s not the first occasion that this unlovely part of London has had a role on film, though, because it once served a little time in Philip Hegley’s Greene Land. And to show that what goes around often comes around, Gunwhale’s director of photography is none other than Bob Crasker. Bob was Hegley’s sidekick on Greene Land and he told me the other day how the two of them wore themselves down on that shoot. It had been clear early on they had something a cut above, and they were determined to go the last mile, yard, inch to achieve, well, yes, a masterpiece. Bob and Philip were immensely competitive, determined to outdo one another on each successive take. Greene Land ended up consuming vast amounts of celluloid, something that helped propel the film wildly over budget. They knew that. They didn’t care. All that mattered was getting prime picture. Philip Hegley didn’t make another feature, Bob Crasker has done dozens since. He never saw the director again once Greene wrapped, but he says a number of the intense habits he picked up on the shoot have stayed with him. I can tell you what he says is true. I watched him work and Bob’s a demon for detail. Go and see his efforts when Gunwhale arrives at a cinema near you.

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