Pillow Talk Part 15

'I know,' she said quietly. And then she did precisely what she would have done, had she been in the studio. She turned away from them, stopped listening, and concentrated on working.

Still cloaked in the duvet, Petra shuffled across the small garden to the workshop at the back. The birds seemed to sing louder as she went, as if protesting at her presence at a time when the garden should be theirs. Clear off and leave us to our early worms!

'Dew,' Petra said, crouching to the gra.s.s, transfixed. 'I'm never up early enough for dew. I don't see dew in London.' To her eyes, the buds of dew which clung to the undersides of blades of gra.s.s, rested on the veins of leaves, hung in stillness from twigs, seemed to be made of something heavier than water, a viscosity keeping them so perfectly round. Petra stood up; the air felt gauzy and as she looked around she noted a vaporous quality, more than a mist, more like a mild sea fret. Thank G.o.d I'm awake at this time, she thought, as she eased open the studio door and sat down, coc.o.o.ned in the duvet, the thrill of wanting to get working swelling like a wave inside her.

This wasn't going to be a tanzanite moment. This was a time for something simple, something vernacular something inspired by the North-East, for what it had brought her, what she had seen.

'Dew. And land that climbs and rolls and drops away. Khaki and slate and lilac. Air up on the hills it's so fresh you can taste it, here in the garden right now you can see it. Ice cream and chocolate and sweets. The river Leven at Ayton rus.h.i.+ng over the weir. The Leven behind me, tiptoeing through town. Hills ahead. And moors. Rain licking down my face yesterday. Raindrops, like translucent pearls, on Arlo's forearms.'

With creative energy flowing and charging her brain, Petra was at once warm enough to be done with the duvet. She started to sketch though her design was already set in her mind's eye and before long she was working with copper, crocheting with fine wire and looping in tiny clear beads here and there. Copper as an economical preliminary for the finished work to be executed in white gold perhaps. Earrings, she thought. Long, sensuous, danglies. White gold with moonstone.

Suddenly it was late lunch-time. Petra looked at her work, slipping it over her fingers from hand to hand like a child with a pet hamster. She was delighted; the slink and flow was organic, the beads placed perfectly, just like dew buds glinting on stems against gauzy air, like the tiny flowers finding their footing on the moors.

'Do you know something? You're fine as you are. Copper is just right because the colour will change just like the landscape. And you're not going to be earrings, you need to trickle, not swing. You're going to be a rather gorgeous hair grip. And I'm going to have you.'

There were plenty of places to buy simple kirby-grips in Stokesley but it was only when she found everywhere closed that Petra remembered it was Good Friday. She had so fancied a cheese-and-onion pasty but she returned to the Old Stables, empty-handed and alone. Just the chocolate Easter bunny for company and she bit off his head without pause for thought.

'He owes me ten pounds,' Petra said and it was the first time she'd thought of Arlo since the early hours. You b.l.o.o.d.y owe me ten pounds, she said again, softly this time and with the coy smile she'd use if he was here in front of her. If only he was. She didn't really want her money back, she just wanted to be able to ask him for it. It could provide the purpose, the excuse, to see him again. Otherwise, what could she say? With a day's distance from their encounter and a full morning's work behind her, she felt shy and a little detached. What would she say if she saw him again? Could she really be brazen enough to smile and flirt and say, Oi you, where's my ten quid?

She drifted off into fanciful imaginings of what could have happened the day before had they only had more time. If he hadn't been rus.h.i.+ng off, if the rain had stopped. They could have walked a while, perhaps all the way up Roseberry Topping, the odd hill which looked from some angles like a child's drawing of a wave. They could have sat there and marvelled at both the view and the happenstance. And what would they have said? Every now and then I've thought of you. Always fondly. With a sense of regret that we didn't-That we never-That we didn't even ever kiss. Like this. Kiss like this.

Petra opened her eyes. She was still in the living room at the Old Stables, on her own with a headless chocolate rabbit lying decimated on her lap in his gold-foil coat. She didn't doubt that she'd probably always been a little in love with Arlo. Or the idea of him, at least. She hadn't seen him all that often, after all. Just when it was pottery, when he wasn't revising. But it was such a vivid time. He'd been in her life at one of her most vulnerable periods; when her parents split up and school work moved up a gear and Mrs McNeil, beautiful Lillian McNeil, was her extracurricular teacher of life, love and death.

But that was seventeen years ago. And it wasn't fate or Cupid that had brought Arlo to Suggitts yesterday. It was just a crazy coincidence. One Petra should perhaps marvel at for a moment and then let that moment pa.s.s. Because it wouldn't be realistic to imagine how they could possibly get it together. She lives in London, he lives up here. What has he done and where has he been these seventeen years? He's probably married with kids that was probably his wife honking the horn of a nice MPV. And even if he isn't spoken for, however would he find her again? It was just something to say. It was a silly thing to say. He didn't mean it how could he? In the age of mobile phones, who on earth offers to find someone else on wits alone? Who did he think he was, some Heathcliff type who'd tramp the moors bellowing Petra! Petra! and sweep her off her feet in the centre of Stokesley to carry her over the threshold of some picture-perfect cottage?

'Anyway, if I've learned anything from the Rob debacle, it's my tendency to fall in love with an idea; to let unrealistic daydreams falsely colour and distort reality. And my time here will change from being days in which I work productively and feel myself flourish to hours dragging by with me wondering if he'll turn up. Hoping. Waiting. Imagining. Romanticizing. It's daft.'

And so, straight after the bank holiday, first thing on the Tuesday, she headed south by rail.

At much the same time, Arlo belted back north, a day early, his internal compa.s.s buffed up and ready, primed to hone in on Petra Flint.

Chapter Twenty-three.

The lie of the land appeared to create an appropriate backdrop to Petra's mood. With the expansive romance of the moors, of the changing light and fast-paced weather, Petra could indulge her feelings of melancholy and drama. The roll and swoop of the moors, the rush and plummet of my heart. By the time she'd been trundled along the Great North-Eastern Railway network and deposited at King's Cross station to be then shunted up the Northern Line to Woodside Park station, just one more automaton with an Oyster card, she simply felt flat. And her flat, when she arrived, felt dull. Being in the bas.e.m.e.nt, the presence of the family upstairs, their footfalls and furniture, for the first time felt oppressive to Petra. As if she was some caryatid, holding them up, or at least having to prevent them from compressing her. Her living s.p.a.ce was small anyway, but she felt further diminished by it; envisaging an aerial view of herself where she was just another inconsequential speck of a person living in cramped rented accommodation in a huge city.

Not taking into account the garden and the workshop, the Stables itself hadn't been much bigger than her flat. But Stokesley for Petra, though smaller than North Finchley, seemed to have the capacity to let its inhabitants breathe, according them their individuality, accommodating their sense of s.p.a.ce. Slumping down into the sofa, she closed her eyes and banished the voice that asked her if she wasn't being a little too melodramatic about her reasons for leaving North Yorks.h.i.+re so abruptly as well as her ambivalence to her home city. A vivid recollection of Mrs McNeil, however, brought her to task.

'Home isn't necessarily where the heart is, Petra,' she remembered her saying. 'You have to put your heart into the place that you call home. That's how I made Tanzania work for me when we moved there. And that's how I established an affection for London when we arrived here from Tanzania.'

Petra wandered into her bedroom and took a pensive look at the watercolour of Kilimanjaro, next to Hector McNeil's abstract oil, both of which Mrs McNeil had bequeathed her. 'Didn't you also tell me a part of your heart would be forever with this mountain?'

And she could hear Mrs McNeil answer her back, she could see again the wry smile arising from the lady's superior worldliness and wisdom. 'And when are you going to tell me that you left a little of your heart in North Yorks.h.i.+re?'

'You'll say I'm daft.'

'I'll say no such thing. I only ask if you ensured that it was placed carefully before you belted back here.'

Petra decided not to answer. Not to talk to the dead. Or to their pictures. She made herself a cup of camomile tea and decided not to phone Lucy or Eric as she'd intended. No more questions, thank you very much. Not when there were no answers to be had, anyway.

'Petra!' Gina and Kitty said in unison.

'Ee by gum,' said Eric. 'Hey up, la.s.s.'

Kitty gave Eric a withering raise of her eyebrows before smiling at Petra. 'You're back.'

'I am,' said Petra, preparing to bat the volley of questions on the tips of the tongues of her Studio Three.

'How was it?'

'It was great.'

'Did you do much work?'

'Loads.'

'What's Charlton's place like?'

'Glorious.'

'And the surroundings?'

'Glorious too.'

'Nice people?'

'Lovely.'

'How did you sleep?'

'Pretty well.'

'What's with your jaw?'

'I fell.'

'Asleep?'

'Yes, you could say that I fell, asleep.'

'Very droll. Do you feel better about you know stuff?'

'Yes, I feel fine. Absolutely fine.'

'Did you make friends?'

'I didn't really fraternize.'

'Was a fortnight long enough?'

'Oh G.o.d, yes,' said Petra. 'It was great. Country air. Peace and quiet. But you know me, I'm a Londoner, born and bred. It's great to be back.'

She fooled them for a week. Charlton Squire too.

No one who'd borrowed the Old Stables had ever returned the keys by plonking them on the gla.s.s top of one of his display cabinets. Usually, they were wrapped up with purple prose and tied with ribbons of grat.i.tude; long thank-you notes extolling the accommodation, the area, the generosity of the host. Invariably, a bouquet or a bottle of champagne accompanied their return. But Petra sauntered in and put the keys down as if they opened nothing more than the stationery cupboard out the back.

'Thanks, Charlton,' she said. 'It was great. Must dash.'

'There's something up with that girl,' Eric colluded with Gina and Kitty later that week when Petra had popped out to Bellore for some solder. 'I can't put my finger on it.'

'She's spending an inordinate amount of time gazing out of the window,' Gina said.

'But she's not sharing the view,' said Kitty. 'If she catches you watching her, she quickly returns to her work as if she'd only looked up for a second or so.'

'I've asked, Are you OK? a couple of times,' said Gina, 'and she just says, Oh yes, I'm fine, with a breezy smile.'

'Perhaps she just doesn't want us all snooping and hovering,' said Kitty.

'Whatever something is amiss,' Eric said. 'I know her better than you, remember.'

Gina turned her back on them. It amused her how Kitty and Eric competed over Petra. 'Do you think something happened up there?' she said as if the North was a wild and mystical place.

'Who can say?' Kitty said darkly.

'She'd have told me,' Eric differed, 'by now.'

But Petra gave nothing away. She arrived in the mornings insouciant, often with cappuccinos all round. She spent long days working industriously. She took great interest in the works of her Studio Three but gave little away of her own project, preferring instead to work covertly, her arm across her sketchbook like a schoolgirl preventing cla.s.smates from copying. She spent hours at a time crocheting copper wire into strange, formless configurations, or else she was pressing sheets of it with other materials through the rolling mill to experiment with different textures. The mesh bags from was.h.i.+ng tablets, fibrous plastic scourers, sc.r.a.ps of netting, popped bubble wrap, knots of wire they all went through the mill with the copper, over and again; Petra seemingly engrossed both in the process and the results.

She'd been back a week when an opportunity arose for Eric to take a closer look.

'Where's Petra, Gina?'

'Post office.'

'What are you doing, Eric?'

'I'm intrigued, Kitty.'

'That's her sketchbook you oughtn't. You know that.'

But Eric had already started to flip through the pages. 'I'm not spying,' he said quietly, after a while. 'I'm just taking a quick peek behind the facade.'

Kitty and Gina regarded each other but stayed put.

After a while, Eric looked over to them with a quizzical smile. 'It's all b.o.l.l.o.c.ks.'

'What is?'

'Everything! It's all been b.o.l.l.o.c.ks,' he said. 'What she's told us and all this.' He held Petra's sketchpad up high and fanned through the pages.

'Define "b.o.l.l.o.c.ks",' Kitty challenged him.

Eric seemed amused. 'Well, it's not b.o.l.l.o.c.ks in that these are rather commendable sketches. But they have nothing to do with her vocation. These aren't preparatory drawings for future designs. Nor do they have anything to do with all the wire knitting and rolling-mill stuff which in themselves are b.o.l.l.o.c.ks too.'

'Some friend you are,' Kitty said.

'She's been filling her days, my dears,' he chuckled softly, 'filling her days with stuff that has nothing to do with work or with London. Look.' He fanned the book again.

The women walked over and quietly examined the sketches.

'See,' said Eric, 'her mind is elsewhere. Her mind is not on work. It's not in London. Not in the here and now. Her mind is full of Yorks.h.i.+re and so is her sketchbook.'

Pages and pages of Petra's book were filled with charming drawings of rural landscapes and river bends and sheep, little vignettes in pencil crammed with affection and rustic detail. There were sketches of ducks diving, of a bicycle propped against a tree-trunk, of cottages, of rickety gates and tumbling paths; there was a page filled entirely with cartoon ice-cream cones.

Kitty picked up some of the warped pieces of copper, indented with the imprints of the bits of junk Petra had run through the press. 'I have to agree with you, Eric.'

'It's not just her mind that's in Yorks.h.i.+re,' Gina said at length, 'I'd say it's her heart.'

By the following week, Petra suddenly couldn't sit still long enough to draw a lamb, let alone a flock, and she was far too fidgety for work at the rolling mill to be anything other than downright dangerous. She kept nipping out of the studio only to return empty-handed. She responded to direct questions with vague, incomplete answers. She frowned a lot. She was late into the studio and the first to leave.

Charlton crossed paths with her as she meandered along Greville Street.

'Hullo, Pet, you'll save my old bones those flights of stairs to yours. Can you take on some work for me? G.o.d, you look dreadful.'

'Thank you.'

'You can?'

'Can what?'

'Out-work? It's not big but it's fiddly.'

'Oh. I don't know. I'm so busy with my own stuff.'

'Stuff?'

'Yes, stuff.'

'Sounds exciting.'

'Not really.'