Someone from the hotel in Camber recognized her picture and sold their story – Matthew’s payment for her no-expenses-spared weekend away. The spoils of a war on women, in which she was a collaborator. That sealed things in the public mind. And it did look bad, she knew it. ‘The optics were bad,’ said one journalist.

She tried to hang on to her truth. And eventually she stopped reading the articles.

She had chosen to live with it. She gave no interviews, no comments, no quiet inside-briefings to defend herself. There was going to be a trial and, having elected to give Amber the truth, at the cost of near everything, how could she jeopardize Amber’s chance of getting justice? Why try to save herself?

‘Was it worth it?’ Scott had asked her.

‘Yes, it was. I think so.’

Then Scott had asked her permission for him to give her a hug, which sounded so quaintly old-fashioned that she almost asked why on earth he’d ask that, before she remembered exactly why he might ask first, and then she was so moved by his thoughtfulness that she couldn’t let him out of her arms, not for five long minutes.

The film is nearly over, but Becky knows that two more people are yet to visit her from the screen. In an interview ahead of the film’s premiere, Emilia had spoken about how Sharon convinced her to stay in the role, disclosing a new plan for the film’s final scene. It had ‘moved me deeply, as a piece of art. It puts life in all its pain into the heart of the story’, Emilia had said.

That scene now begins to play.

Becky has read enough reviews to know that the moment is coming, but it still kicks her in the gut when Medea’s grave is visited by her grieving sister, Chalciope. Played by Amber Heath. A theatrical metafictive flourish.

On screen, Amber lays flowers then a tender kiss on the freshly dug ground.

Becky suddenly wishes that she had not seen the film on a day like today, when she was sure to feel even worse later on. That she had allowed herself some time to recover from seeing Amber’s face, beamed ten feet high on the cinema screen, tearful and reproachful, mourning the world’s women lost to betrayal and despair.

The credits begin to roll and – there she is – Becky’s second visitor.

Siobhan’s name has ended up in the credits for Medea, thanks to her taking a new job as Development Executive at Julia Peppard’s company, Bottom Line. Siobhan joined them only a few days before Bottom Line announced their deal to acquire all rights in Medea from Kingfisher Films.

When the news broke, Siobhan had texted Becky: I didn’t plan that one btw. It was the first contact between them since the day Siobhan resigned.