II Simon got to bed at half past four

II
Simon got to bed at half past four. At ten minutes past eight the telephone by his bed was ringing. “Mr. Lent? This is Sir James Macrae’s secretary speaking. Sir James’s car will call for you at half past eight to take you to the studio.” “I shan’t be ready as soon as that, I’m afraid.” There was a shocked pause; then, the day-secretary said: “Very well, Mr. Lent. I will see if some alternative arrangement is possible and ring you in a few minutes.” In the intervening time Simon fell asleep again. Then the bell woke him once more and the same impersonal voice addressed him. “Mr. Lent? I have spoken to Sir James. His car will call for you at eight forty-five.” Simon dressed hastily. Mrs. Shaw had not yet arrived, so there was no breakfast for him. He found some stale cake in the kitchen cupboard and was eating it when Sir James’s car arrived. He took a slice down with him, still munching. “You needn’t have brought that,” said a severe voice from inside the car. “Sir James has sent you some breakfast. Get in quickly; we’re late.” In the corner,rolex gmt, huddled in rugs, sat a young woman in a jaunty red hat; she had bright eyes and a very firm mouth. “I expect that you are Miss Harper.” “No. I’m Elfreda Grits. We’re working together on this film, I believe. I’ve been up all night with Sir James. If you don’t mind I’ll go to sleep for twenty minutes. You’ll find a thermos of cocoa and some rabbit pie in the basket on the floor.” “Does Sir James live on cocoa and rabbit pie?” “No; those are the remains of his supper. Please don’t talk. I want to sleep.” Simon disregarded the pie, but poured some steaming cocoa into the metal cap of the thermos flask. In the corner, Miss Grits composed herself for sleep. She took off the jaunty red hat and laid it between them on the seat,jeremy scott adidas 2012, veiled her eyes with two blue-pigmented lids and allowed the firm lips to relax and gape a little. Her platinum-blonde wind-swept head bobbed and swayed with the motion of the car as they swept out of London through converging and diverging tram lines. Stucco gave place to brick and the façades of the tube stations changed from tile to concrete; unoccupied building plots appeared and newly planted trees along unnamed avenues. Five minutes exactly before their arrival at the studio, Miss Grits opened her eyes, powdered her nose, touched her lips with red, and pulling her hat on to the side of her scalp, sat bolt upright, ready for another day. Sir James was at work on the lot when they arrived. In a white-hot incandescent hell two young people were carrying on an infinitely tedious conversation at what was presumably the table of a restaurant. A dozen emaciated couples in evening dress danced listlessly behind them. At the other end of the huge shed some carpenters were at work building the façade of a Tudor manor house. Men in eye-shades scuttled in and out. Notices stood everywhere. Do not Smoke. Do not Speak. Keep away from the high-power cable. Miss Grits, in defiance of these regulations, lit a cigarette, kicked some electric apparatus out of her path, said, “He’s busy. I expect he’ll see us when he’s through with this scene,” and disappeared through a door marked No admittance. Shortly after eleven o’clock Sir James caught sight of Simon. “Nice of you to come. Shan’t be long now,” he called out to him. “Mr. Briggs, get a chair for Mr. Lent.” At two o’clock he noticed him again. “Had any lunch?” “No,” said Simon. “No more have I. Just coming.” At half past three Miss Grits joined him and said: “Well, it’s been an easy day so far. You mustn’t think we’re always as slack as this. There’s a canteen across the yard. Come and have something to eat.” An enormous buffet was full of people in a variety of costume and make-up. Disappointed actresses in languorous attitudes served cups of tea and hard-boiled eggs. Simon and Miss Grits ordered sandwiches and were about to eat them when a loud-speaker above their heads suddenly announced with alarming distinctness, “Sir James Macrae calling Mr. Lent and Miss Grits in the Conference Room.” “Come on, quick,” said Miss Grits. She bustled him through the swing doors, across the yard, into the office buildings and up a flight of stairs to a solid oak door marked Conference. Keep out. Too late. “Sir James has been called away,” said the secretary. “Will you meet him at the West End office at five-thirty.” Back to London,jeremy scott shop, this time by tube. At five-thirty they were at the Piccadilly office ready for the next clue in their treasure hunt. This took them to Hampstead. Finally at eight they were back at the studio. Miss Grits showed no sign of exhaustion. “Decent of the old boy to give us a day off,” she remarked. “He’s easy to work with in that way—after Hollywood. Let’s get some supper.” But as they opened the canteen doors and felt the warm breath of light refreshments, the loud-speaker again announced: “Sir James Macrae calling Mr. Lent and Miss Grits in the Conference Room.” This time they were not too late. Sir James was there at the head of an oval table; round him were grouped the chiefs of his staff. He sat in a greatcoat with his head hung forward, elbows on the table and his hands clasped behind his neck. The staff sat in respectful sympathy. Presently he looked up, shook himself and smiled pleasantly. “Nice of you to come,” he said. “Sorry I couldn’t see you before. Lots of small things to see to on a job like this. Had dinner?” “Not yet.” “Pity. Have to eat, you know. Can’t work at full pressure unless you eat plenty.” Then Simon and Miss Grits sat down and Sir James explained his plan. “I want, ladies and gentlemen, to introduce Mr. Lent to you. I’m sure you all know his name already and I daresay some of you know his work. Well, I’ve called him in to help us and I hope that when he’s heard the plan he’ll consent to join us. I want to produce a film of Hamlet. I daresay you don’t think that’s a very original idea—but it’s Angle that counts in the film world. I’m going to do it from an entirely new angle. That’s why I’ve called in Mr. Lent. I want him to write dialogue for us.” “But, surely,” said Simon, “there’s quite a lot of dialogue there already?” “Ah, you don’t see my angle. There have been plenty of productions of Shakespeare in modern dress. We are going to produce him in modern speech. How can you expect the public to enjoy Shakespeare when they can’t make head or tail of the dialogue. D’you know I began reading a copy the other day and blessed if I could understand it. At once I said, ‘What the public wants is Shakespeare with all his beauty of thought and character translated into the language of everyday life.’ Now Mr. Lent here was the man whose name naturally suggested itself. Many of the most high-class critics have commended Mr. Lent’s dialogue. Now my idea is that Miss Grits here shall act in an advisory capacity, helping with the continuity and the technical side, and that Mr. Lent shall be given a free hand with the scenario ...” The discourse lasted for a quarter of an hour; then the chiefs of staff nodded sagely; Simon was taken into another room and given a contract to sign by which he received £50 a week retaining fee and £250 advance. “You had better fix up with Miss Grits the times of work most suitable to you. I shall expect your first treatment by the end of the week. I should go and get some dinner if I were you. Must eat.” Slightly dizzy, Simon hurried to the canteen where two languorous blondes were packing up for the night. “We’ve been on since four o’clock this morning,” they said, “and the supers have eaten everything except the nougat. Sorry.” Sucking a bar of nougat Simon emerged into the now deserted studio. On three sides of him, to the height of twelve feet, rose in appalling completeness the marble walls of the scene-restaurant; at his elbow a bottle of imitation champagne still stood in its pail of melted ice; above and beyond extended the vast gloom of rafters and ceiling. “Fact,” said Simon to himself, “the world of action ... the pulse of life ... Money, hunger ... Reality.” Next morning he was called with the words, “Two young ladies waiting to see you.” “Two?” Simon put on his dressing gown and, orange juice in hand, entered his sitting room. Miss Grits nodded pleasantly. “We arranged to start at ten,” she said. “But it doesn’t really matter. I shall not require you very much in the early stages. This is Miss Dawkins. She is one of the staff stenographers. Sir James thought you would need one. Miss Dawkins will be attached to you until further notice. He also sent two copies of Hamlet. When you’ve had your bath, I’ll read you my notes for our first treatment.” But this was not to be; before Simon was dressed Miss Grits had been recalled to the studio on urgent business. “I’ll ring up and tell you when I am free,” she said. Simon spent the morning dictating letters to everyone he could think of; they began—“Please forgive me for dictating this, but I am so busy just now that I have little time for personal correspondence ...” Miss Dawkins sat deferentially over her pad. He gave her Sylvia’s number. “Will you get on to this number and present my compliments to Miss Lennox and ask her to luncheon at Espinoza’s ... And book a table for two there at one forty-five.” “Darling,” said Sylvia, when they met, “why were you out all yesterday and who was that voice this morning?” “Oh, that was Miss Dawkins, my stenographer.” “Simon, what can you mean?” “You see, I’ve joined the film industry.” “Darling. Do give me a job.” “Well, I’m not paying much attention to casting at the moment—but I’ll bear you in mind.” “Goodness. How you’ve changed in two days!” “Yes!” said Simon, with great complacency. “Yes, I think I have. You see, for the first time in my life I have come into contact with Real Life. I’m going to give up writing novels. It was a mug’s game anyway. The written word is dead—first the papyrus, then the printed book, now the film. The artist must no longer work alone. He is part of the age in which he lives; he must share (only of course, my dear Sylvia, in very different proportions) the weekly wage envelope of the proletarian. Vital art implies a corresponding set of social relationships. Co-operation ... co-ordination ... the hive endeavour of the community directed to a single end ...” Simon continued in this strain at some length, eating meantime a luncheon of Dickensian dimensions, until, in a small, miserable voice, Sylvia said: “It seems to me that you’ve fallen for some ghastly film star.” “O God,” said Simon, “only a virgin could be as vulgar as that.” They were about to start one of their old, interminable quarrels when the telephone boy brought a message that Miss Grits wished to resume work instantly. “So that’s her name,” said Sylvia. “If you only knew how funny that was,” said Simon, scribbling his initials on the bill and leaving the table while Sylvia was still groping with gloves and bag. As things turned out, however, he became Miss Grits’s lover before the week was out. The idea was hers. She suggested it to him one evening at his flat as they corrected the typescript of the final version of their first treatment. “No, really,” Simon said aghast. “No, really. It would be quite impossible. I’m sorry, but ...” “Why? Don’t you like women?” “Yes, but ...” “Oh, come along,” Miss Grits said briskly. “We don’t get much time for amusement ...” And later, as she packed their manuscripts into her attaché case she said,cheap jeremy scott adidas, “We must do it again if we have time. Besides I find it’s so much easier to work with a man if you’re having an affaire with him.”