Read Online Christmas at Carrington’s by Alexandra Brown - Free Book Online
Authors: Alexandra Brown
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pop into Masood’s corner shop on my way home for a carton of custard and a soppy film. He always has a stack of DVDs to choose from and you really can’t beat a mince pie or two with a warm custard drizzle. That will cheer me up a bit. I might even get ten Benson too while I’m at it.
Making my way over to my counter, the best one on the floor, right opposite the main customer entrance and next to the giant, floor-to-ceiling Christmas window display, I make a conscious effort to pull myself together and put on a brave face. It wouldn’t do to crumble in front of a customer. I like to think of the shop floor as a stage to perform on where everything else must be left behind the scenes, upstairs in the staff canteen or in the sanctuary of my cosy flat. Besides, for all I know, Zara, Kelly – or worse still, Tom – could be spying on me via the CCTV. Maybe that’s how they doctored the film footage of Annie, supposedly texting and ignoring Zara. Hmmm.
I sneak a look around and my pulse speeds up. There! I knew it. Right there on the wall above the Marc Jacobs stand, glaring directly at the counter, is what looks suspiciously like a camera to me. A small, black, domed piece of plastic, and it definitely wasn’t there last week. I know, because I was up there with my feather duster. I make a mental note to climb back up the long ladder and strategically place a weekender bag right in front of it. That should block the view. I could even put one of the miniature Christmas trees on the very top shelf. That will definitely do the trick.
I’m crouched down behind my counter, sorting through a box full of old Olympic merch from last year – sequinned Union Jack clutches and sparkly London 2012 key rings, couldn’t even shift it during a BOGOF campaign – when a guy, wearing denim board shorts and the biggest funky Afro I’ve ever seen, waves one of those huge grey fluffy microphones in my face. Next to him is an arty-looking woman wearing leopard-print skinnies with blush patent wedges and a floaty vest top. She’s got a red leather folder pressed inside her crossed arms.
‘Can I help you?’ I say, shoving the box under the counter with my foot.
‘Perfect!’ The woman ignores me and whips out what looks like a paint chart from her folder, and holds it up near my shoulder.
‘What are you doing?’ I pull a face and push the chart away.
‘This is her. The girl. The one Kelly wants heavily featured,’ the woman says to the guy.
‘
Hellooo
. I am here, you know,’ I say, feeling irked at the mention of Kelly’s name. It’s her fault Tom and I have split up. Everything was wonderful before she came on the scene. I wave my hand in an attempt to get their attention.
‘Oh, sorry. How do you feel about cerise?’ the woman says, scrutinising me now.
‘
Cerise?’ I repeat, thinking it’s a bit random.
‘
Err, can’t say I’ve given it much thought of late.’
‘
Or how about a rich chocolate or silky cream, with, wait for it – ’ she does a massive, almost manic grin, and waves her hand around before glancing at the guy, who nods enthusiastically – ‘a dash of delicate mint green? Oh yes, that would suit you far better. Bring out the gorgeous turquoise of your eyes.’ She fiddles with the chart again. ‘It’s very important that we get the right palette for you.’
‘Palette?’ I say, conscious of sounding like a parrot now.
‘For your clothes! Hence the light chart.’ She gives the card a quick wave for emphasis. ‘Sorry.’ She puts the chart back inside the folder and stuffs it under her arm before pushing the pen into her messy ballerina bun for safekeeping. ‘Hannah Lock. Production assistant.’ She sticks a hand out to greet me and I notice her gorgeous French navy gel nails.
‘Leo Aguda. Sound technician. Or Leo Afro, as they call me.’ The guy with the microphone grins and raises a clenched fist for me to thump. Awkwardly, I duly oblige.
‘Georgie Hart. Women’s
Making my way over to my counter, the best one on the floor, right opposite the main customer entrance and next to the giant, floor-to-ceiling Christmas window display, I make a conscious effort to pull myself together and put on a brave face. It wouldn’t do to crumble in front of a customer. I like to think of the shop floor as a stage to perform on where everything else must be left behind the scenes, upstairs in the staff canteen or in the sanctuary of my cosy flat. Besides, for all I know, Zara, Kelly – or worse still, Tom – could be spying on me via the CCTV. Maybe that’s how they doctored the film footage of Annie, supposedly texting and ignoring Zara. Hmmm.
I sneak a look around and my pulse speeds up. There! I knew it. Right there on the wall above the Marc Jacobs stand, glaring directly at the counter, is what looks suspiciously like a camera to me. A small, black, domed piece of plastic, and it definitely wasn’t there last week. I know, because I was up there with my feather duster. I make a mental note to climb back up the long ladder and strategically place a weekender bag right in front of it. That should block the view. I could even put one of the miniature Christmas trees on the very top shelf. That will definitely do the trick.
I’m crouched down behind my counter, sorting through a box full of old Olympic merch from last year – sequinned Union Jack clutches and sparkly London 2012 key rings, couldn’t even shift it during a BOGOF campaign – when a guy, wearing denim board shorts and the biggest funky Afro I’ve ever seen, waves one of those huge grey fluffy microphones in my face. Next to him is an arty-looking woman wearing leopard-print skinnies with blush patent wedges and a floaty vest top. She’s got a red leather folder pressed inside her crossed arms.
‘Can I help you?’ I say, shoving the box under the counter with my foot.
‘Perfect!’ The woman ignores me and whips out what looks like a paint chart from her folder, and holds it up near my shoulder.
‘What are you doing?’ I pull a face and push the chart away.
‘This is her. The girl. The one Kelly wants heavily featured,’ the woman says to the guy.
‘
Hellooo
. I am here, you know,’ I say, feeling irked at the mention of Kelly’s name. It’s her fault Tom and I have split up. Everything was wonderful before she came on the scene. I wave my hand in an attempt to get their attention.
‘Oh, sorry. How do you feel about cerise?’ the woman says, scrutinising me now.
‘
Cerise?’ I repeat, thinking it’s a bit random.
‘
Err, can’t say I’ve given it much thought of late.’
‘
Or how about a rich chocolate or silky cream, with, wait for it – ’ she does a massive, almost manic grin, and waves her hand around before glancing at the guy, who nods enthusiastically – ‘a dash of delicate mint green? Oh yes, that would suit you far better. Bring out the gorgeous turquoise of your eyes.’ She fiddles with the chart again. ‘It’s very important that we get the right palette for you.’
‘Palette?’ I say, conscious of sounding like a parrot now.
‘For your clothes! Hence the light chart.’ She gives the card a quick wave for emphasis. ‘Sorry.’ She puts the chart back inside the folder and stuffs it under her arm before pushing the pen into her messy ballerina bun for safekeeping. ‘Hannah Lock. Production assistant.’ She sticks a hand out to greet me and I notice her gorgeous French navy gel nails.
‘Leo Aguda. Sound technician. Or Leo Afro, as they call me.’ The guy with the microphone grins and raises a clenched fist for me to thump. Awkwardly, I duly oblige.
‘Georgie Hart. Women’s
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