Constance. Rosie Thomas
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as a director– producer team.
Connie had tried to joke mildly, privately, about him to Angela.
‘Rayner? What’s that about? Is his real name Raymond? Do you call him Ray?’
Angela had reproved her, without a glint of a smile. ‘No, of course not. Why d’you say that? His name’s his name.’
It hadn’t taken even this exchange for Connie to conclude that Angela was in love with Rayner Ingram. Producer– director relationships weren’t exactly uncommon in the business. It was just uncommon for them to have happy endings.
Connie half-listened to Angela, but the other half of her attention was on the stacks of metal boxes and lights and cables being unloaded from the trucks, and the way people were rushing about, and the British and Australian colloquialisms shooting across the set.
It was bizarre to contemplate this other world, this self-important capsule of schedules and shots and scripts, given birth to by a line of trucks drawn up beside a half-ruined temple in a rice paddy under the blue cone of a volcano. A few yards away, behind a loose cordon of local men who had been recruited to keep spectators off the set, Connie could see two women squatting at the edge of a green thicket of rice. They had been harvesting, and their hand-scythes lay at their feet. They looked as though they might be mother and daughter. The younger one, perhaps sixteen years old, wore a bright red sarong that made a brilliant slash against the green and the dark earth. She carried a baby bound against her chest. The two women watched the activity on the set with wide eyes and motionless attention.
Connie tried fleetingly to establish which of these places was the more real to her: the silent women and the rice paddy or the ring of people within which a hairy man in shorts and a khaki waistcoat with a dozen pockets across the front was yelling for someone to bring over the genny cables. Both were familiar, she decided, and she could feel at home in either. Whatever home meant. It was the juxtaposition that was disconcerting.
The two women reached the open flap of the tent, which had a fine netting screen across it to keep out the insects. As Angela gathered the netting in one hand she whispered, ‘You haven’t met the clients yet, have you?’
‘No, I haven’t.’
‘Now’s your chance.’
Two men were sitting in canvas chairs at a folding table, surrounded by three others and a woman and a circle of cups and plates and cafetières. Both of them looked up at Connie. She had time to see that they were the kind of men who naturally wore grey worsted, and that now they were dressed in what Angela, using her primitive-tribe-found-in-Papua-jungle face, called ‘clients’ shoot clothes’.
Angela said warmly, ‘Simon, Marcus? This is Constance Thorne. Our musical director, of course.’
The older one half got to his feet and held out a big hand. There were croissant crumbs on his safari jacket.
‘Ah, Boom Girl,’ he shouted. ‘We’re honoured. Simon Sheringham.’
‘Hello,’ she smiled at him.
She hated being called Boom Girl. If it had ever been welcome, it had stopped being so a very long time ago. She had written the Boom music when she was barely twenty. A fluke. A day’s work.
‘Boom, boom, baboom ba ba, bababa ba.’ The younger client sang the few bars as he also stood up. ‘And it was long before my time,’ he asserted, intending a compliment. ‘Hi. Marcus Atkins.’
‘Hello.’ Connie shook hands with him, and smiled some more. From further along the table the ad-agency copywriter and art director nodded at her, too cool for introductions. The agency producer was very pretty, Connie noted.
Angela and Rayner were conferring over the schedule of the day’s shots.
‘I’ll just get some breakfast,’ Connie murmured.
Two Balinese men in white jackets were clearing plates. Connie followed them out of the back of the tent. Behind the scenes, enclosed by canvas screens, Kadek Wuruk, who was moonlighting from Le Gong Restaurant (‘Don’t Go Before You Come’), was frying eggs on a two-ring gas burner. He beamed at Connie and waved his spatula at her.
‘Hello! Welcome, Ibu. Egg for you? Very good, you know. My own chickens.’
‘Yes, but no thanks. It’s a bit early for me. I’ll have some coffee, though. Everything okay, Kadek?’ There was quite a limited range of Balinese first names.
‘Everything fine, great.’
His assistant was chopping onions, three women were peeling vegetables, two young girls were washing up, and a line of boys processed by with cases of bottled water. Connie was reluctant to pass back through the canvas flap that separated kitchen from tent. It was more comfortable out here, with the women laughing and chattering and the shy girls with their bare lovely feet planted in front of the portable sink unit. She poured coffee into a Styrofoam cup, and watched Kadek Wuruk and his assistants at work as she drank. There would be nasi goreng for lunch.
She heard a crackle of walkie-talkies.
‘We’re in,’ the first assistant called to the crew. It was the signal for work to begin on the other side of the canvas. People began shifting towards the set, but there would be several hours of waiting and watching while the rest of the gear was brought in and lights and cameras were set up. If everything went really well the camera would be turning over before the lunch break was called. Connie’s gamelan orchestra was listed as the first shot.
When she had first arrived in Bali, Connie had been intending to make a short stopover on her way to London from Sydney. The plan had been to keep still, to take stock of what was left of her life, and let her bewilderment subside a little. It was only a few weeks since Seb had told her that he was in love with a Chinese violinist, and intended to marry her.
At that time Sébastian Bourret was becoming a soughtafter conductor. When he made the announcement, sitting on the balcony of their rented flat overlooking Sydney Harbour, Connie had been his lover and partner for more than six years. Their home was nominally in London but Seb travelled so much that they were away more than they were there, and this had suited Connie well. Their peripatetic life together had been comfortable and civilised, and she had been sure that it was what they both wanted and needed. She had her own work, composing music for television and commercials, and as technology developed it was becoming increasingly easy to do that work anywhere in the world.
She wasn’t under the illusion that Seb was wildly in love with her, at least after their first year together, any more than she was with him. But they had much in common, and they were considerate and mutually respectful and deeply fond of one another.
Then Sebastian really had fallen in love, with the gifted Sung Mae Lin who was no bigger and looked hardly older than a child, even though she was almost thirty. Unwittingly Mae Lin made Connie feel too big and the wrong age, and unwanted, and unhappy in a way that was too familiar, however hard she fought against that and the memories that were stirred by it.
None of it was Mae Lin’s fault, or Seb’s, really, or her own for that matter. It was just one of those things that happened. There had been no alternative for Connie but to withdraw from her own life, as quickly and as gracefully as she could manage it.
Seb and Connie had said goodbye to each other gently, and with regret, but there had been no question that he might change his mind. Connie had seen him only once since then, when he was conducting a Beethoven Festival concert series in London. He and Mae Lin had two children now. Twin girls.
Connie’s London home was still the apartment that she had shared with Seb. He had made his share of it over to her and she had kept the place, although it was bare of most of the furniture they had chosen and there were few of her possessions set out in it. She liked it better that way; it was easier to slip in and out of an almost empty space. Minimalism was closer to invisibility.
When she’d arrived in Bali, she had had no plans and no expectations of the place. It had simply