The Cinema at Starlight Creek

by Alli Sinclair

  ‘Right, well, I’m glad I ran into you. I guess I’ll see you around,’ he said.

  ‘I guess you will.’ She waved goodbye and Luke crossed the road and entered the café. She watched him through the window, his tall, lean body lounging on the chair as he chatted with his great-aunt. The connection between these two seemed unbreakable. Certainly, Luke’s allusion to unsupported dreams couldn’t have included Hattie. Who was it? His father? Mother? Were they still alive? He hadn’t mentioned them … then again, Luke didn’t seem like the type of person who told his life story within the first five minutes of meeting someone new. She suspected his statement about not asking Hattie personal questions also pertained to him. Disappointment surfaced because, whether she liked it or not, a sudden desire to know more about Luke Jackson resonated deep within her.

  Oh, no, no, no.

  Nope. She could not go there. But it wouldn’t hurt to fantasise, just a little, right?

  Claire rolled her eyes and scrounged around her bag again for the keys. She checked her pockets and had no luck.

  Peering in through the window of her ute, she spied them sitting oh-so-innocently on the driver’s seat.

  ‘You have got to be kidding me.’ Sticking her hand in her bag once more, Claire fumbled around until she found the plastic strapping she kept for such occasions, which happened way more often than they should. Living with a mind that constantly buzzed with ideas meant it interfered with everyday things, like remembering not to lock her keys in the ute.

  Setting her bag down, Claire inserted the strapping at the right angle and slid it along slowly, waiting for it to gently touch the mechanism that would pop the lock. A faint click sounded and Claire quickly opened the door, clutched the keys and waved them in the air.

  ‘Yes! Ha!’ She did a spin of victory but stopped the second she caught sight of Luke and Hattie standing a couple of metres away. Claire dropped her hands by her side. ‘Oh, hi.’

  ‘Are you a criminal in your spare time?’ asked Luke, his lips twitching.

  ‘No … uh … breaking into your own vehicle isn’t a crime last time I checked.’ Seriously, what crap timing.

  ‘Don’t listen to him.’ Hattie gave Luke a nudge. ‘It’s good to see you’re more than capable of figuring out your own problems. A woman should be able to rely on herself. Why don’t you come to my place now and you can get started?’

  ‘That would be wonderful, thank you.’

  ‘Don’t you have a doctor’s appointment?’ Luke asked his aunt.

  ‘Oh, yes.’ Hattie tapped her head. ‘Sometimes my age catches up with me, but not often.’ She turned to Luke. ‘Why don’t you open up then Claire can start doing what she needs to do? I’ll meet you there later.’

  ‘I can pick you up from the doctor’s.’

  ‘No, no, the walk will do me good. It will give me a chance to clear my head.’

  Luke shrugged and gave Claire a look that seemed to say there’s no point in arguing.

  Hattie waved goodbye and walked a few doors down to enter a grey building with a faded Pharmacy sign that had the ‘ac’ missing.

  ‘Shall we go?’ Luke started walking slowly, letting her catch up.

  Walking afforded Claire the opportunity to take in the small details that she’d missed when driving. For years Claire had trained herself to take in every element of landscapes and buildings, committing them to memory because she never knew when she’d need to call on them to use for a production. Whether it was the way the afternoon sun shone on a bougainvillea, the curve of a road through a valley, or the intricate filigree on the bannister of a staircase, she always looked for the beauty in things. Even rundown towns like Starlight Creek that hadn’t had a lick of paint since 1957 had their own charm and story to tell.

  As Claire and Luke got closer to the cinema, a tingle of excitement started in her fingertips and ran up her arms. She loved nothing more than exploring a new site and mapping it out, using the logical side of her mind to maximise the space and minimise the time needed while also utilising her creative side by envisioning how everything would look on-screen. On-location sets were a character in their own right and could make or break a movie—the perfect setting could enhance a mood and give actors a better connection with the story.

  Luke and Claire walked in silence. They arrived at the cinema, and she stopped and looked—really looked—at the faded exterior and peeling paint.

  Luke opened the door, stepped into the dark foyer, flicked on the lights and motioned for her to enter. She hesitated, her head clouded in doubt, wondering if she’d dreamed the interior was better than it actually was.

  Stepping across the threshold, she prayed she hadn’t gotten it wrong.

  CHAPTER 10

  1994 – Starlight Creek, Queensland

  A wave of awe crashed over Claire as she took in the expanse of the foyer. The black and white tiles were just as pristine as she’d remembered, the wooden kiosk just as shiny, and the ornate chandelier hanging from the pressed metal ceiling still held every crystal.

  ‘Wow.’ She breathed out slowly.

  ‘Wow? But you’ve seen this before.’

  ‘I know. It’s just … just … I have no words, really.’ She slowly walked in a circle, taking it all in.

  A wry smile raced across Luke’s lips. ‘I get it.’

  ‘You do?’

  ‘I’ve grown up in this cinema and sometimes I still find myself in awe. Check this out.’ Luke went over to the kiosk and behind the counter. He pressed a panel and out popped a secret drawer. ‘They used this to put in excess takings until it was collected at the end of the night.’

  ‘That is so cool!’ Claire sounded like an excited schoolgirl, which, in all honesty, she was. ‘I’ll have to tell Nigel about this.’

  Luke stood straight. ‘Nigel?’

  ‘The director. He loves this sort of stuff. I bet we could use it in the mini-series.’

  Luke’s body stiffened ever so slightly.

  ‘You’re not really on board with this, are you?’ She really should shut up.

  ‘I like the idea of our cinema being in a mini-series but it’s the behind the scenes that worries me.’

  ‘Why?’

  ‘My great-aunt.’ He brushed a speck of dust off the dark wood counter.

  ‘When I give my word, I mean it. I will not let your great-aunt down.’

  ‘I believe you,’ he finally said, his voice sincere.

  Her shoulders relaxed. ‘Excellent.’

  ‘Don’t you need to take photos or something?’ His tone was back to business, so she set about getting her camera out of her bag and attached the flash.

  Holding up the camera, she asked, ‘Do you mind if I walk around? I’ll also need to take measurements.’

  ‘Go ahead.’

  She worked in the foyer, focussing her camera lens, getting the right light, sketching and jotting down measurements. Claire pulled out the shooting script that she’d already made notes on.

  ‘What’s that for?’ asked Luke.

  ‘I’m just double checking I’ve covered all the potential angles and scenes for inside the cinema.’

  ‘Doesn’t the director do that?’

  ‘Yes, but part of my job is to relieve the director’s logistical burdens. It’s important for me to see things with a director’s eye and also with the mind of a logistics operator. I have to think about where the crew and actors will stand—we normally mark the actors’ positions with tape but it won’t mark your floor. Each actor has a specific colour they stand on. I also look into the accessibility of power and water, where catering will be set up, and health and safety for everyone—and everything—involved. I also have to time how long it takes to get the crew from one place to another, as well as put signs up on the roads and give detailed maps to the crew so they arrive with minimal time and confusion. Basically, I have to consider every single angle of production when looking at a place to shoot.’

  ‘Interesting,’ said Luke
.

  ‘I’m glad you think so,’ said Claire, encouraged by Luke’s curiosity. ‘My job means I live in the past, present, and future.’

  ‘How?’

  ‘Past because I oversee packing up a set and the logistics of getting everything from A to B. Present as I need to know what’s happening while we’re shooting and liaising between the departments and also the people whose property we’re shooting on. And future, because I’m looking at the next lot of locations and starting negotiations to have access to property while putting together information for the production team.’

  ‘When do you sleep?’

  She let out a laugh. ‘Never!’

  ‘Why the photos?’

  ‘It’s a storyboard for the production team because they can’t always see a property before they arrive to film. Normally I’d do this before I start negotiations with the property owner but we’re on a bit of a time limit.’

  ‘Hmmm.’

  Claire continued photographing while Luke watched on in silence. She couldn’t tell if he was still interested or if he was having second thoughts. When she was done with the photography, she got out the tape measure, notepad and pen.

  ‘Do you want me to hold the end of the tape measure?’ he asked.

  ‘That would be great, thanks.’ Luke’s offer helped ease Claire’s concerns.

  They worked in the foyer, no words spoken except ‘can you please move that there’ or ‘thanks, let’s do this part’. The whole time, though, Claire wanted to ask about the history of the theatre, about his family’s connection, where he got the inspiration behind the beautiful metal artwork and why he’d been so stand-offish in the beginning.

  Stop it!

  She needed to concentrate as every measurement had to be exact because if she was off it would mean wasting time stuffing around trying to get gear in, resetting lighting design and camera angles and even figuring out the right number of crew for the space.

  Claire eventually finished in the foyer and packed her gear into her bag. ‘Could we do the cinema itself now?’

  ‘Sure.’

  They went into the cinema and, once again, the beauty floored her. She ran her fingers over the small gold rectangles used to secure the blue fabric on the seats. The light reflected off the curved wooden backs and armrests, highlighting the craftsmanship. ‘This is really something. Such a shame no one gets to see it anymore.’ She closed her eyes for a moment and bit her lip. ‘Sorry.’

  ‘It’s fine,’ he said. ‘The public should have the chance to see it, and they will now.’

  ‘On screen. It’s not quite the same, is it?’ Back-pedalling, she said, ‘But I’m sure it will show up brilliantly in the mini-series.’

  Claire saw a door at the side of the cinema she’d missed on her first visit. She took a step in its direction.

  ‘That’s off limits.’ He paused, as if testing her resolve. She remained silent, despite the urge to let fly with a slew of questions. Luke smiled. ‘Nice to see you can keep your word about not asking questions.’

  ‘Of course I can!’ Indignation set in, but she quickly quashed it. She reached for the camera then closed her eyes, taking a few deep breaths.

  ‘Claire? What are you doing?’

  ‘I’m waiting for the cinema to speak to me.’

  ‘Uh …’

  She opened her eyes. ‘I’ll admit it does sound weird, but I am as sane as they come. I tend to do this when I’m in a beautiful place because I want to get a feel for it.’ She shivered. ‘It’s as if the souls of the people who used to come here are still present.’ Claire looked again at the blue velvet seats. ‘Like all their conversations, their laughter, tears, heartache and celebrations are still with us.’

  Luke stared at her.

  ‘Don’t mind me.’ Heat rushed across her face. ‘I’m not some weirdo or anything.’

  ‘Are you sure?’ She liked the way his eyes crinkled when he smiled.

  ‘Pretty sure. But,’ she waggled a finger, ‘you never know.’

  Luke laughed, and the cinema instantly felt warmer. It was good to get him on side as it was one less stress to deal with. Ugh. James Lloyd was already a massive headache and one she really didn’t want to deal with but, if monitoring the movements of an actor meant she’d stay on Nigel’s good side, she’d have to suck it up. There could be worse things, like Tony Karter muscling in on her job. She couldn’t stomach the idea of returning to running errands and being the general dogsbody of the production team. She’d worked too long and too hard to mess this chance up. It was now or never.

  * * *

  Claire exited the Ashton newsagency, the latest copy of Queensland Country Life rolled under her arm. She pulled her baseball cap over her eyes, not keen on being recognised should one of the locals spot her. Then again, Ashton was so small that a stranger stuck out like a ballerina at a Nirvana concert.

  The past forty-eight hours had been mayhem and had required a lot of to-ing and fro-ing between Starlight Creek and Ashton, chasing up with the legal team, long meetings with the crew and, of course, dealing with Tony and his attitude along with making Nigel happy. All this had to be squeezed in between shooting the last of the outdoor scenes while keeping the unrest from the townsfolk of Ashton at bay.

  ‘Excuse me!’

  Claire whipped around to find Annalise, the cinema owner’s daughter, rushing up the street. She wore tight jeans, Doc Martens and a red-and-black checked flannel shirt. Right now, she looked eighteen, unlike the outfits and hair and make-up she’d worn previously that made her look at least six years older.

  ‘Annalise! I thought you were on a … holiday.’

  ‘I’m supposed to still be away, but I heard about everyone moving to Starlight Creek and … well …’ She reached into the back of her jeans pocket and pulled out a crumpled envelope. ‘Can you give this to James?’

  Claire looked around, fearing glaring eyes would be watching her every move. ‘I’m sorry, I can’t.’

  ‘But I have to get this to him! Please!’

  ‘Annalise, I can’t.’

  ‘But you’re seeing him later today, right? When you get to Starlight Creek?’

  ‘I am.’ Claire’s heart went out to the poor lass. When was the last time Claire had been that taken by a man? Hmm … ‘Your father would kill me and so would my boss.’

  ‘But James and I are supposed to be together!’

  ‘I understand that’s how you’re feeling right now—’

  ‘I’m going to feel this way forever!’ she yelled, oblivious to the butcher and his customer who had just stuck their heads out the door to see who was causing the commotion. ‘You have to help me!’

  ‘Annalise, I want to help, but I can’t. I’d be risking my job and—’ this would be very hard to say, ‘—James is a player. Deep down he’s a nice guy but he’s not exactly been on the straight and narrow these past few months.’

  ‘He’s told me that.’

  ‘And it doesn’t worry you?’

  She shook her head, her long straight hair covering her face. Annalise pushed back her locks. ‘He said I’m different.’

  Now anger roiled through Claire—not at the starstruck teenager, but James Lloyd who should know better. Just wait until she saw him. ‘I agree, you are different to the women he normally dates and that’s why I’m concerned. The women he’s usually with are …’ How should she put this? ‘… actresses, models, women who have been around and have thick skin. They’re used to dating someone like James. You may think I’m sticking my nose in—’

  ‘You are.’ Annalise crossed her arms.

  Claire paused, wondering if she should continue. ‘I get the attraction for James but life in the limelight isn’t all it’s cracked up to be and people like James go from one shiny object to the next. I don’t want to see you get hurt.’

  ‘My heart is already broken! My father made sure of that!’

  Oh jeez. Robert. ‘Speaking of which …’

  ‘He does
n’t know I’m only staying long enough to collect my things and then I’m going to be with James at Starlight Creek.’

  ‘Does James know this?’

  Annalise pointed at the letter in Claire’s hand. ‘He will when you give it to him.’

  ‘Oh.’ Claire stared at the innocent-looking envelope. She handed it back to Annalise who crossed her arms once more. ‘I’m sorry.’

  ‘No one understands me!’ yelled Annalise.

  ‘Please, come with me.’ Claire put her hand under the teenager’s elbow and steered her towards the deserted park on the other side of the road. They sat at a picnic bench under a jacaranda while birds foraged on the grass and in the garden beds. ‘You know, I’ve been in your position before. When I first started out in this industry I was starstruck and would almost faint any time one of the big-name actors would acknowledge my existence. I tried dating a couple—’

  ‘Who?’ Annalise’s eyes widened.

  ‘It doesn’t matter who.’

  ‘It does!’

  ‘Fine,’ said Claire, aware Annalise would stop listening if she didn’t reveal who these men were. ‘Steve Holt and Joey Reynolds.’

  ‘What?’ Annalise grabbed Claire’s arm. ‘Are you serious?’

  ‘Deadly serious.’ Though she followed it with a smile. ‘It wasn’t all bad. I liked the fancy dinners and expensive wine and beautiful presents but there was a downside to all of that.’

  ‘What was it?’ Annalise leaned forward.

  ‘I was never going to be their number-one priority. A lot of actors live and breathe their work—which is why they get paid the dollars they do—but it means sacrificing many other things, including relationships.’

  ‘Other actors marry.’

  ‘Of course they do, and some of those partnerships are wonderfully loving and successful. It’s a credit to the couples who manage to stay together with their lives in the media and constantly under scrutiny.’ Claire paused, not sure if she was crossing the line. ‘Are you sure this isn’t a fling?’

  ‘It’s way more serious than that. James said so.’

  Bloody James. He had this poor girl hook, line and sinker. ‘What exactly did he say?’