Leaving the sound stage, Tony pushed his way through racks of clothing—the wardrobe department’s solution to a ten-by-sixteen office and no storage space. Given the perpetual shortage of room, he was always fascinated to note that many of the costumes hanging along both sides of the hall were costumes that had never been used on the show. Granted, he covered enough second unit work that he wasn’t on the set all the time, but he somehow doubted he’d have forgotten the blue taffeta ball gown, extra large, with size twelve stiletto-heeled shoes dyed to match. Assorted World War II uniforms had been used for a flashback sequence two episodes ago, but he had no idea when or if they’d ever needed half a dozen private school uniforms. And he couldn’t help but wonder about the gorilla suit.

Maybe a few shows down the road they were going after a whole new demographic.

He’d been with the series as a production assistant since the beginning—thirteen of twenty-two episodes in the can and word was they were about to be picked up for a second season. There was no shortage of television work in the Vancouver area—half the shows that filled the US networks were shot there—and there’d certainly been more high profile production companies hiring, but Darkest Night had piqued his curiosity and once hired he found himself unable to leave. Even though, as he’d told Henry, some days it was like watching a train wreck.

“They don’t know shit about vampires,” he’d complained after his first day on the job.

Henry had smiled—his teeth too white within the cupid’s bow of his mouth—and said, “Good.”

Henry Fitzroy, writer of moderately successful romance novels, had taken Tony Foster, a nineteen-year-old street kid into his home, his bed, his heart. Had moved him from Toronto to Vancouver. Had bullied him into finishing high school, had provided stability and encouragement while he worked in a video store by day and attended courses at the Vancouver Film School by night.

And although Henry Fitzroy, bastard son of Henry VIII, once Duke of Richmond and Somerset, had, in the end, allowed Tony to leave and live the life his protection had made possible, he’d refused to cut all ties—insisting they remain friends. Tony hadn’t been sure that would work, the whole Prince of Man thing made Henry frighteningly possessive of those he considered his, but however unequal the relationship they’d had, it turned out that the friendship they’d built out of it was solid.

Henry Fitzroy, vampire, Nightwalker, four hundred and fifty odd years a member of the bloodsucking undead, wavered between being amused and appalled about Darkest Night.

“They seem to know less about detectives than they do about vampires.”

“Yeah, well, it’s straight to syndication . . .”

Tony’d learned early on that no one wanted to hear the opinion of a production assistant so, after a few aborted attempts, he surrendered to the inevitable clichés and set about making himself indispensable.

Which was the other reason he stayed with CB Productions. Chester Bane was notorious for hiring the minimum crew the unions would allow and, as a result, his PAs ended up doing a wide variety of less than typical jobs. This resulted in turn in a higher than usual turnover of PAs but Tony figured he’d learned more about the business in thirteen shows than he’d have learned in thirteen seasons elsewhere. Granted, some of it he’d have rather not learned, but after spending his teens on the streets—not to mention unmentionable experiences with demons, mummies, zombies, and ghosts—he had a higher tolerance for the unpleasant than skinny blondes out of West Vancouver by way of UBC who apparently thought themselves too good to empty vomit out of Raymond Dark’s file cabinet. He hoped she was very happy being the TAD at the honey wagon on Smallville location shoots.