A Gift from The Bard

"Yes: I didn't think about it before but there's all the lighting and sound too, isn't there?" By unspoken agreement, we've slowed our approach but Gio spots us and waves, making the others turn and look at us. Tom's eyes meet mine and there's a tense moment.

"Hi," says Suzie, happily. "It looks like it really is all hands on deck for this. Emmy, do you and Tom need to deal with the statues?" It takes a moment to register but I realize that Suze is actually being kind; I don't know if she can sense the tension or simply guesses it must be there, but she's trying to give Tom and I a little privacy in case we need to talk some more.

"Er, well maybe we ought to be the ones to move them. What do you think Tom?" I ask carefully.

"Um... I suppose so," he concedes and with that Suzie asks if Geo can lead the way.

"How's the book?" I hear her ask Dan as the three of them head away.

"Are you okay Tom?" I ask.

"Huh," he snorts, "I've been better."

"Look, Tom, I'm really sorry. I..." dare I say this? "Listen, what I said last night, about not wanting to get too deeply involved when I'm going to be off to university in a couple of months, well it was true but... I couldn't say this at home, with Mum and Dad around, but I'm not ready for a sexual relationship with a guy. You're probably going to think I'm a right tease, leading you on and that but, well, it's the truth. The day after I was terrified I might be pregnant and... Oh, Tom, you're a really nice bloke and I'm sure there's a lovely girl waiting for you," I take an overdue breath, "but that girl isn't me. Sorry."

I look at him, and he stares back, his mouth pressed into a thin, flat line, and I try to make him answer me by sheer willpower. Eventually, he dips his head momentarily.

"I suppose you think I should thank you for being honest?" he replies curtly.

"No..." I hesitate, then sigh as I shake my head. "No, Tom. I know that I haven't been fair on you, especially, you know, what happened last week..."

"When you fucked me and ran away?" he asks bitterly, but this is completely unfair.

"Sod you, Tom. I didn't force you." I snap and then try to calm and moderate my voice. "And no, I don't expect thanks but you can keep your insults."

"Just tell me: is there someone else? Is that why you're dumping me?" His question sends a cold jolt through me.

"Oh, for heaven's sake!" I exclaim, thinking hard. "No, Tom, I did not dump you because there was someone else I was seeing." I allow myself a little self-congratulation at being factually completely honest despite actually being in love with Suzie. However, I don't want him mulling my reply over, not right now. "Okay? Right: now can you bear to work with me today or shall I ask Lance or Nick if someone else can help me?"

"I... no, actually I'd rather not spend any time with you. And if anything were to happen to damage the statues, I wouldn't want you to think I'd done it deliberately."

"Tom, I wouldn't think that because I know you're not like that... but I can understand how you feel about being with me. I'm sorry I didn't speak sooner about how I was feeling and... I was going to say I hope we can be friends but I know I've upset you too badly for that; can we at least not become enemies? Not with the play and everything coming up."

"The show must go on," he replies sadly. "Okay, I'll help with the statues as long as you don't go around telling people we've split up." This sounds like it's more for his benefit than mine but I guess I owe him so I agree, especially as I can see Joe, Beth, Chris and a couple of others approaching.

We make our way along the driveway past the Hotel and I recall the path that continues on as the drive bends to the right towards the car park. A minute or two later and we're approaching the trees and bushes that surround the outdoor theatre area and there are people milling around. There is Nick, with a clipboard and looking very self-important standing next to Tati. I spot Suze standing well away from the two of them -- or away from Tati, anyway -- and with a quick nod to Tom, I head over to her.

"Are you okay?" we ask each other simultaneously.

"Yeah," Suze says. "I'm just keeping out of Tati's way in case she's still intent on finding reasons to have a go at me. You?"

I check that there's no one within hearing and give her a quick summary. "I think he is upset about being dumped but a large chunk of that upset seems to be about what people will think of him."

"Hmmm, well I suppose we all worry what people..."

"Right, ladies and gentlemen, can you all gather around," Nick calls loudly and people slowly drift over to him and Tati. He explains that Lance will be bringing the van up shortly with the first load of the set parts and that people will need to help the stage crew with the unloading and carrying. A couple of people should then go back with Lance in the van to help get the second load. He glances around and locates me. "Emily-Rose; I think your statues will need to come up in the final load with the last few bits. Okay?" I nod, a sudden vision of my work -- Tom's too, of course -- battered to bits rattling around in a van. The worry obviously shows on my face. "Don't worry," Nick adds, "we'll get them up here intact."

Nick leads us into the theatre area and I notice that work has already begun, with two platforms constructed out of scaffolding. Tall scaffold poles stick up high in places and there are handrails at the rear of the higher platform that will be for the balcony. Stairs lead between the two platforms and down from the rear of the upper level.

"Right, so the first load will have the flats for the back, side and front and the main steps up to the terrace. Please listen to the stage crew and if you're unsure what they want then ask and check: we don't want any accidents, clear?"

There are general nods and murmurs of agreement and the group starts to break up to resume their chatting. However, Nick calls me over. "Emily, you know we talked about this garden idea? Well, Ted knows a chap who's with a theatre company in Ashford; they've just finished a production of 'The Secret Garden' and the company have let us have some of the set. There's the gateway they made for the garden and I wondered if you could use your artistic gifts and work with Paul to make it into an entrance into the theatre area?"

"I can give it a go," I tell him.

So that's my day -- Suzie's too as I 'persuade' her to help me and she manages an Oscar-worthy 'if I have to' performance -- and we, with Paul from the set crew, fix stakes into the ground for support and turn the small gateway in a wall of the Secret Garden set into a much wider opening with lengths of fake wall either side. It's not perfect -- it's not as wide as I'd like and the bricks are just painted on -- but it's the best we can do with what we have.

"I just wish there was a way of making it look more like it belonged here," I complain.

"Why don't we lift some of the ivy growing over the ground at that end and see if we can drape it over the wall like it was growing?" suggests Paul.

"Or could you stick bits on?" asks Suze. "Unless they'd die, of course."

However, our experiments with ivy have to wait as the statues finally arrive. "They're both fine," Lance says as Suze and I hurry over. "I drove very carefully all the way here."

Their care for my work is reassuring but it's still a nervous time until, half an hour later, they are in place, with spikes driven through the four holes at the bottom of each plinth to hold them firmly in place. I step back from the statue of Venus and feel a hand on my shoulder. I turn and look straight into the affectionate gaze of Suzie's blue-grey eyes. It takes all my willpower not to kiss her right there and then.

"Emmy, they look fantastic," she says in admiration.

"Thanks, Suze." There's something else I need to say and look across the circle of people around the statue. "These weren't just my work; Tom also worked on them and they certainly wouldn't be here now and looking this good if it weren't for him." I study him, trying to read his emotion but he remains impassive; perhaps he thinks I'm being patronising.

"They're the biggest pair of tits he's had his hands on in a long time, I'll bet!" Joe calls to general laughter and Tom's obviously forced smile.

"Perhaps we shouldn't ask about your experience in that area, Joe," Suze replies unexpectedly.

"Hey! You don't have to play the part of Beatrice all the time you know," Joe protests. I notice that Beth is blushing and I wonder if Suze intended to embarrass her. Of course, he didn't deny anything, so it's possible that Suzie's comment accidentally hit the mark.

We all sit around eating lunch -- half a dozen big pizzas that Lance drove down into town to collect -- and not surprisingly I'm next to Suze. Our legs rest against each other's, just because there isn't much space on the step on which we're sat, obviously; it's definitely not because we're girlfriends. The set has really come on, with impressively realistic walls, columns and stone balustrades covering the scaffolding. There are still bits to finish but it's going to look amazing and I'm very glad the statues turned out so well.

While I think that the progress has been really good, Nick and Lance seem less satisfied and lunch is kept to well under an hour. We are sent back to work with complaints that they want to get the lighting in place by the end of today.

Suze and I head back to see what we can achieve in the way of getting some ivy trailing over the walls.

Suzie

I've spent the last hour helping to spread bark chippings over the path as Emmy has been asked to help do something artistic on the set. The chippings are rather smelly and I grumble that it's a lot of work just to mark the path and performance area. Chris, working beside me, agrees but Val, who I suspect wanted the part of Beatrice and hasn't quite forgiven me for depriving her, has a different opinion.

"Well, of course, you newcomers won't remember last year's problems with all the rain; the stage area was little better than a swamp, really it was. Hopefully, this bark stuff will prevent that."

"If this dry weather keeps up, then it'll be unnecessary," Chris points out.

"True," I agree, "but it would be nice if it was warm as well as dry; I hope it won't get too cold in the evenings."

"I would have expected that you wouldn't feel the cold too much," Val replies, the bitch having a dig that I'm not some willowy brunette like she is.

"Not at all," I reply sweetly, "I'm sure I shall be too much engaged in my role to feel the cold myself; I was thinking of the comfort of our audiences... and the older cast members." There is a satisfying chuckle from Chris and Bert too as he overhears our conversation.

The work continues and, as I stand below the balcony I empty my third and last bag of chippings, I straighten up, feeling the stiffness in my back from too much bending. "Oooh, I'm tired," I complain to myself. The shadows have grown very long and, through the opening in the trees to the right, the sun is beginning to dip below the horizon. It is a lovely view.

"Romeo, Romeo, wherefore art thou grumbling Romeo?" I look up at the sound of Emmy's voice to see her looking down at me over the balcony balustrade, smiling.

"I'm grumbling because I've been spreading this stuff for ages and I'm knackered. I hope you're not thinking I love you so much that I'm about to climb up there like Romeo."

"Suze!" she hisses and I realize that perhaps I shouldn't have said that. Fortunately, Beth and Tati, the only ones who might have wondered about my comment, are nowhere to be seen.

"What?" I ask, feigning innocence. "I'm just too tired to help you try your hand at playing Juliette."

"Well, you do owe me for helping you out at the audition," she recovers well, "but maybe another time."

A few minutes later and Tati finally announces that we're done and we all join in a relieved cheer. "Except the stage crew, Terri and Ted," interjects Lance. "Can you spare another half hour or so to do the lighting setup? It'll be easier now it's getting dark and it'll save having to come back during the week."

"Thank you, Lance," Tati says. "Now, just before you start heading off remember it's a very busy week coming up: final costume checks tomorrow evening at the hall, full run through rehearsals up here on Tuesday and Thursday, here again on Saturday afternoon for the technical rehearsal and then, on Sunday... what is it?"

"The dress rehearsal!" I call out and there is an unexpected mix of laughter and groans at my words.

"No, no, Suzie; it's not a rehearsal," Tati tells me in a patronising tone. "Chris, perhaps you could enlighten her?"

"It's a real performance but without the audience, Tati," he replies, more to her than me, and she nods condescendingly to him.

"That's right, so I shall expect perfection. Right then everyone, thank you for your work today, the set looks wonderful. See you tomorrow." We are finally dismissed.

"Are you alright?" Emmy asks as she comes up beside me.

"Yes. It looks like Tati still enjoys putting me down."

"Come on, let's get going," suggests Emmy and we turn and start walking. "I'm not saying Tati isn't a cow but I think she knew someone would give the wrong answer; it just happened to be you this time."

"I guess."

We walk on in silence for a while; I think we're both conscious of the eyes of the rest of the cast. Emmy finally speaks as we turn onto the road. "Do you want to come home with me? We can get some food and I've something to show you." I wonder what she's planning.

"I'd love to," I tell her and so we make our way tiredly to her house.

"Hello Mrs Wilson," I say as Emmy ushers me in. Emmy's Mum is surprised to see me; not surprising as I haven't been home with Suzie in over eighteen months, not since that morning when I woke up to find Emmy gone and just that horrible note.

"Oh, hello Susanne. Emily, you didn't say you'd be inviting anyone home." That she insists on calling me Susanne irritates me intensely; even Mum calls me Suzie.

"Sorry Mum, it's just been a long day and we're both starving."

"Oh... Dad wanted us all to go out to celebrate your College results but we weren't sure what time you'd be home, so your Dad and I have eaten. I suppose I could cook some bacon and eggs if you'd like."

"Oh, Mrs Wils..." I begin, feeling guilty at putting her out, despite my irritation.

"Thanks, Mum," Emmy interrupts. "Come on, Suze, it's in my room." She turns and walks off leaving me with little choice but to follow, though I do remember to thank her Mum as I go.

I have mixed feelings as I climb the stairs: I am intrigued but also worried because this was where it all went wrong. "Emmy, er, what are we doing up here?" I ask quietly as she opens the door to her room.

"Don't worry," she whispers with a mischievous smile, "much as I might like to get up to all sorts with you, Mum and Dad are downstairs." She leads me into the room, pushing the door shut behind me; her arms are around me in an instant and I have no hesitation in returning her passionate and long-overdue kiss.

"I thought you said you didn't want to get up to all sorts," I point out.

"This isn't all sorts, this is just kissing and don't tell me you haven't been dying to do this all day."

"Of course I have, my love!" and we commence round two of our kissing. Moments later I feel her hand on my boob. The touch is delicate, hesitant and I open my eyes to meet hers and her lips withdraw, just a fraction.

"No Suze, my hand isn't an accident," she whispers, her breath caressing my lips.

"Emmy... much as I like what you're doing, if you keep this up then all sorts will happen," I warn, feeling a quickly rising passion that I never felt with Tati. She gives a sigh and I feel her shoulders drop in disappointment.

"Sorry, you're right but, actually, this wasn't the surprise. Come here." She turns and moves to her desk and lifts away the sheets of newspaper covering it. Underneath, the desk is covered in the finished masks for the ball scene in Act Two.

"Wow," I say, seeing the bright colours and feathers. "They were just plain whatsit, papier mâché when I saw them last."

"Yes, well I didn't want to start decorating them and then find they didn't fit properly. Anyway, do you remember me saying that I was making animal masks for the men and bird masks for the women? Well, I wanted not to just any old animal or bird but, if I could, to fit them to the character. So, for Don Pedro, I did a lion as he's the noble Lord, for Claudio I did a cat because he's young and proud and suspicious and for Don Jon, a snake as he poisons the relationship between Hero and Claudio."

"What about Benedick?" I ask, curious.

"A monkey. He's clever but he's being mischievous trying to trick you, I mean Beatrice."

"Emmy, I'm really impressed; you've really thought about this, you clever girl. What about the women?"

"Well, for Hero I chose a hummingbird, beautiful but a bit flighty, and for Ursula, I made a goose as she seems motherly and protective. I made a magpie for Lucy because her character, Margaret, is bad news, basically."

"Let me guess," I say, looking over the masks, "for Beatrice... an owl perhaps, for cleverness?"

"Beatrice was really hard. I did wonder about an owl but, well, no one ever said 'as beautiful as an owl' did they? I wanted something for you that was beautiful and clever and... marvellous."

"And?" I ask but she laughs.

"And, I couldn't think of anything! Absolutely nothing seemed right... until you said something last week after you'd had Tati try and tie you up and I slept with Tom. Do you remember?"

"I remember the day but, no, what did I say?"

"You said that we'd be like phoenixes and rise from the ashes of all our problems. I think, looking back, that was the point I realized I loved you and wanted to be with you; that our love was being reborn from the ashes that I made of our old friendship and this time I wanted to accept my feelings." She picks up an old shoebox and opens it to reach inside. "Here, this is your mask." She takes out a mask covered in curving feathers of red and gold that look like tongues of flame with a hawk-like beak and large eyes, holding it towards me.

"Emmy, it's beautiful," I tell her as I take it reverently. Tears prickle my eyes at her words, tears of relief and happiness... and love. There is nothing to do but lean forward to kiss her tenderly. "You're beautiful," I say and kiss her again "and I love you."

"Emily-Rose, Suzanne: your bacon and eggs are ready," Mrs Wilson's voice interrupts us.

"Okay Mum," Emmy calls back, a disappointed look on her face.

"Never mind, Emmy darling," I tell her, carefully placing the mask back into the shoebox. "Come on; let's not keep your Mum waiting."

Tati

There is the usual hubbub backstage as people dress and sort out hair and makeup. I've had to remind them all several times that, as the dressing rooms are simply two marquees, they really must be even quieter than usual if the audience is not to hear them. I see their eyes rolling whenever I call this the 'performance sans l'audience' but it is exactly this sort of thing they need to practise. There is a burst of laughter from the women's tent and I sigh. "Five minutes, people," I call loudly, "and please keep the noise down!" Lance hurries past to take his station as stage manager. "Lance, my dear man, please do your best to keep the raucous rabble under control."

"Erm, right-ho, Tati; I'll do what I can," he replies with a look that clearly asks, 'Don't you think I've enough stress just at this moment?'

I make my way to the audience area, take my seat on the folding chair, take out my notepad and pens and wait. I am not alone as several of the crew have taken the opportunity to watch their friends and to see how it all looks. I can't begrudge them after all their hard work but I do hope they've booked tickets for the actual performances as there are a few nights where the house will be nowhere near full.