“Not livid, livide,” Peter told him, tone and expression completely nonconfrontational. They had no time to deal with one of Mason’s detours into ego. “It’s French. Translates more or less as ghastly.”

“I’m playing a vampire, for Christ’s sake! I’m supposed to look ghastly.”

“You’re supposed to look undead and sexy. That’s not the same thing.” Flashing their star a reassuring smile, Peter returned to the director’s chair. “Come on, Mason, you know what the ladies like.”

The pause while he considered it could have been scripted. Right on cue: “Yes, I do. Don’t I?”

As the visibly soothed actor returned to his place on the park bench, Peter sent a prayer of thanks to whatever gods were listening, settled back behind his monitors, and yelled, “Tony!”

A young man standing just off the edge of the set, ear jack and harried expression marking him as one of the crew, jerked as the sound of his name cut through the ambient noise. He stepped around a five gallon jug of stage blood and hurried over, picking his way carefully through the hydra snarl of cables covering the floor.

“We’re not going to need Lee until after lunch.” Peter tore the wrapper from a granola bar with enough force that the bar itself jerked out of his hands, bounced off his thigh, and was heading for the floor when Tony caught it. “Thank you. Is he here yet?”

“Not yet.”

“Fucking great.” An emphatic first bite. “Have someone in the office call his cell and find out where the hell he is.”

“Do they tell him that you won’t need him until after lunch?”

“They remind him that according to the call sheets, his ass was supposed to be in makeup by 11:00 . . . Tina, was what’s-her-name wearing that color nail polish in scene sixteen? She looks like her fingertips have been dipped in blood.”

The script supervisor glanced up from lining her pages. “Yes.” Looking past Peter’s shoulder, she indicated that Tony should get going. “I think dipped in blood is what they were trying for.”

Shooting Tina a grateful smile—it wasn’t always easy to tell when Peter’s abrupt subject changes were, in fact, a dismissal—Tony headed for the office. A muffled shriek from the actress playing Catherine stopped him at the edge of the park.

It seemed that Mason was getting playful. Testing out his teeth.

As the gaffer’s crew adjusted two of the lights, shadows danced against the back wall of the set, looking on their own regard if not ghastly then strange. Forming shapes that refused to be defined, they moved in weirdly sinuous patterns, their edges overlapping in ways normal shadows did not.

But this is television, Tony reminded himself as he left the park, cut across Raymond Dark’s office, and hurried past the huge mahogany coffin on his way to the production office. There’s nothing normal about it.

The studio where CB Productions shot Darkest Night had been a box warehouse in its previous incarnation and much of it still looked the part. Chester Bane, creator and executive producer of Darkest Night, as well as half a dozen other even less successful straight to syndication series, had gone on record as saying that he refused to spend money the viewer wouldn’t see on the screen. His comments off the record had been more along the line of, “I’m not spending another cent until I start seeing some return on my fucking investment!” Since CB had only one actual volume and that volume had been known to send the sound mixer running for his board to slap the levels down, off the record essentially meant that no reporter was taking notes within a two-kilometer radius.