DCI Isaac Cook Box Set 1

major movie stars?’
‘In part I would agree, but that definable quality is, I believe, with the person regardless of their star status.’
‘Are you saying that Marjorie Frobisher was at the peak of her career, and it was downhill from here?’
‘Yes, that is what I am saying.’
‘Does she know this?’
‘In the strictest confidence, yes. Please don’t use it and certainly don’t let the gossip magazines hear of it.’
‘I’ll agree, but if it becomes a murder enquiry.’
‘She’s becoming older, maybe too old for the programme. There’s a decision to reinvigorate the programme. Bring in some younger characters; get rid of some of the older ones.’
‘I thought you had record ratings.’
‘Record ratings, but they drop and very quickly if you don’t give them something new.’
‘Older characters. Is Edith Blythe one of them?’
‘She’s out in three to six months at the most. They’ll honour her contract, but she’s going. We killed off Billy Blythe, her brother, now it’s time for her. Mind you, Billy Blythe’s death generated record ratings and substantial revenue. What do you think will happen when we kill her off?’
‘This is your game. You tell me.’
‘We had over eight million viewers in England alone for his death. She should generate somewhere close to nine if it’s promoted correctly.’
‘No doubt it will be.’ It was odd that he had barely heard of the programme. He had watched a recent episode on the internet, three hours earlier. It did not impress him.
‘Don’t worry, they’ll get the numbers. The increased revenue will cover the cost of paying out her contract.’
Isaac prepared to leave. The conversation had ranged from stand-offish to amenable, then to professional, and eventually back to very amenable. He was feeling a little uncomfortable with the situation, and a little concerned that he found Jess O’ Neill an attractive woman. Any other time, he would not have hesitated to make a play.
He stood up to leave, sooner than he would have preferred. ‘Just one question.’
‘Yes, what is it?’ She had made a point of shaking his hand and moved forward as if she was going to give him a hug.
‘Did Marjorie Frobisher know that she was going to be written out of the series?’
‘I told her in confidence.’
‘How did she take it?’
‘She hit the roof, gave me a diatribe about how she was the programme, and that once she left the ratings would plummet through the floor, and we’d all be out on the street looking for a job.’
‘How did you react?’
‘I stood my ground and told her the facts.’
‘So when did she go missing?’
‘She never came in the next day.’
‘Do you believe it was you telling her that prompted her to leave?’
‘I’m not sure. She may have been angry, but for all her faults, she was a professional. I can’t see that it was the reason, although it may have been.’
‘Just one more question, maybe two: was it your responsibility to tell her and whose idea was it to write her out of the script?’
‘I told her on a directive from the executive producer. My timing was not great; I should have waited until we finished shooting Billy Blythe’s death, but she had asked me a direct question about script development. Not really for me to answer, but it was a question, and I told her the truth. It seemed the only professional approach that I could take.’
‘And the second question. Whose idea was it to write Marjorie Frobisher out?’
‘I had put forward the idea some weeks earlier at a production meeting, and there was unanimous support. It was only a suggestion during a brain-storming session, but it appeared to hit a nerve, and from then on it was accepted. The date when she leaves is not clear. There may still be a change, even at this late date.’
‘Does she know the suggestion came from you?’
‘After she stormed out of here, she drove out to Richard Williams’ office, the executive producer, and confronted him. Apparently, he acknowledged the fact that I had been the catalyst, and she left soon after.’
‘Any idea what was said?’
‘You’ll need to ask him. I only know what I was told. I’m told the conversation was acrimonious, lots of shouting, some bad language.’
‘Who told you this?’
‘The fact that she had confronted him? The executive producer’s personal assistant. She’ll corroborate my statement, but don’t let on that I told you.’
‘Marjorie Frobisher would see you as being responsible for her removal.’
‘Clearly, and I don’t think she’s a person who forgives easily,’ Jess O’Neill said.
***
Isaac Cook’s dependable colleague Farhan Ahmed focussed on trying to find the missing woman: the standard approach, visit the nearest relative. Robert Avers, Marjorie Frobisher’s husband, was an avuncular man who warmed to the young policeman immediately.
‘Come in, please.’ The house, in one of the better part of Belgravia, was obviously expensive and exquisitely decorated. Farhan was ushered into the main reception room. A maid went off to make tea: no milk for the policeman, milk and two sugars for his host.
‘We’ve been asked to assist in finding your wife.’ Farhan wasn’t sure if his questioning would be appreciated. Typically, it would be the nearest relative who opened a missing file case, not somebody of ‘influence’.
The reply allayed his fears. ‘Detective Inspector, I don’t know what the fuss is about. She’s become a pain in the arse recently with her celebrity status. She sees herself as better than the likes of me.’
‘Does that indicate any marital issues? Would that explain her disappearance?’
‘Not at all. I just ignore her. She gets over it soon enough. Give her a few weeks, and she’ll reappear.’
The maid entered, poured the tea and left some chocolate biscuits on a plate. The conversation temporarily halted while she was present. Farhan took one of the