Several years ago, the BBC broadcast a period drama called The Paradise. It was about a department store in the north of England run by charming entrepreneur Moray. The local totty thought he was the best thing since sliced bread and badly wanted to marry him (which would have been to his advantage, since totty’s father had pots of money ready to invest in the store).
Enter Denise: pretty, clever and ambitious. She makes her mark at the store (lots of bright ideas for displays, that kind of thing) and even catches the attention of Moray. Cue URST (UnResolved Sexual Tension).
Just when we think Moray and Denise are about to sail off into the sunset, there’s a twist (SPOILER ALERT). The crucial speech:
Denise: I don’t want to marry Moray. I want to be him.
That’s the line from the series that most stayed with me. And it’s the line I resisted the urge to quote when, earlier this year, I found myself on a date with the man who’d helped script the series.
‘It was great!’ I said. (I probably clapped.) ‘It was better than Mr. Selfridge.’
He grinned. ‘Aww bless you.’
(I should have known then it was doomed.)
We saw each other a couple more times, and each time conversation turned to his job.
I’ve dated people from a range of professions: engineers, a journo, an architect, a theoretical physicist. Infatuation, I find, is usually accompanied by a heavy dose of job envy. And if I don’t fancy doing the actual job – me as a theoretical physicist LOL – I’m seduced by the lifestyle that goes with it. I still have no idea how the physicist managed to go on fortnightly holidays.
But – the journo aside – it’s all been fantasy. Until Moray.
I hung on his every word. Date one, I admitted to having tried to get into script development a while back. I’d even spoken to several script editors about the best routes in. He knew the people I’d spoken to. It just gave us more to talk about.
But, unlike Moray, he didn’t come to me on bended knee. So, shortly before the inevitable parting of the ways, I started mourning the relationship. He was fun; I’d miss that. I’d miss the sex too. But what I’d miss most was sharing a passion. We’d watched the trailer for The Crown and agreed about the lack of conflict. We hadn’t agreed about Michael’s character in Mum (I found him a bit annoying), but we did both love the theme tune (‘You’re Gonna Miss Me’) and listened to it together the last morning I spent at his.
I told him the best bit of screenwriting advice I’d ever read. He told me about the alien story his company was in the process of pitching. He loved his job. I loved his job.
I loved his job. I loved his job.
Five-hour meetings to determine characters’ back-stories. Brainstorming plot lines with a writer in their hotel room. Working all Sunday on a scene breakdown.
Occasionally I thought of him, pictured his head resting on my pillow.
‘I like you.’
I smile. ‘I like you too.’
‘What do you want?’ he says.
It’s a script joke – a protagonist should always want something.
‘The same thing as you,’ I whisper, and pull him closer.
If only that had been true.