The Bride Stripped Bare Set: The Bride Stripped Bare / With My Body. Nikki Gemmell

and you’re relieved at that, for the memory of it has now distilled to two things: when he didn’t come it was frustrating and when he did it was messy, often over your stomach and face, like a dog at a post claiming ownership.

      

      So many ways to live like a prisoner.

      

      But a resolution, to find a way back into a happy life. Although God knows when the fury will soften from you.

      You concentrate for the moment on making the flat very beautiful, very spare and pale, like the inside of a white balloon. To your taste, for compromise has been lost. You’ve never dared impose your will so much. The builders come to know a woman who’s never been allowed out before, especially with Cole, a woman stroppy, shorttempered, blunt.

      And the flat, the beautiful flat, fit for a spread in Elle, is as silent as a skull when you enter it.

      An emptiness rules at its core, a rottenness, a silence when one of you retires to bed without saying goodnight, when you eat together without conversation, when the phone’s passed wordlessly to the other. An emptiness when every night you lie in the double bed, restlessly awake, astounded at how closely hate can nudge against love, can wind around it sinuously like a cat. An emptiness when you realise that the loneliest you’ve ever been is within a marriage, as a wife.

       Lesson 34

       provide yourself with a good stock of well-made underlinen

      The café in Soho. The Friday before the August Bank Holiday. Hot, festively so. A man is at the table beside you, reading a newspaper, The Times. You notice the nape of his neck: how odd to be attracted to someone just by a glance at their neck. The hair’s black, like the night-time deep in the country.

      You’re outside on the pavement. A water main has burst nearby and water’s spreading lazily across the street. No one seems bothered, yet. Two men and a woman shout and laugh into the water and kick it about, they’re in their twenties, they shouldn’t be doing this. They’re oblivious to their audience and soon drenched.

      You smile. Your Evening Standard is folded into your bag, you’ll finish it on the tube – God, rush hour, you’ve left it too late, you’ll be standing all the way. You’ve left it too late because you don’t want to be in the flat by yourself, in the silence like a skull. You hate the emptiness when Cole’s there and yet when he isn’t, too, when he’s deliberately out; it’s like nothing, now, is quite right in your life. You stand, ready to step into the stream of commuters with their faces anxious for the cloistering of home, and a car careers round the corner and carves through the water, veering away from the trio, and a fan of water arcs up: you’re hit. You’re stricken, can’t move, your mind blanks as if someone has told you a joke and you’re meant to get it quick.

      You look across to the man next to you. He, too, is wet. You blurt a laugh; here at last is the joke. So does he.

      You need some help, you say.

      So do you.

      You look down. Your white cotton dress is triumphantly wet in a huge patch at the front, it clings like a piece of recalcitrant silk slicked about a tree. You throw back your head and grimace: oh God. And then a man’s jacket is wrapped round your shoulders, a man’s leading you back to the table, he’s holding you in a way that only a husband should hold you: with ownership.

      It is, of course, your man with the beautiful nape.

       Lesson 35

       hooks and eyes

      Everything is changed.

      Gabriel Bonilla, that is his name. You repeat it; the sound is all mealy in your mouth. You smile in apology at that. You must wait until your dress has dried to decency; it may take some time and this Gabriel Bonilla asks if you need to get home straight away – no, it’s all right, there’s nothing to go home to – and you laugh, too loud, and as it comes out it’s as if something within you has cracked.

      Well, hello.

      

      So there you are, an hour or two in that greasy spoon of a café and you’re both talking about everything and nothing, voices tumbling over the top of each other, learning lives.

      Shaking free.

      You’d never talk with this freedom, this lightness, if you were unattached. Being married gives you a bloom of certainty, a confidence. But it doesn’t stop the blushing. Gabriel Bonilla blushes too, just like you, fully, completely, ridiculously and you dare to think it means something. You’re hesitant to ask about a partner and a family, you want to know, must know, but fear the effort of asking will reveal too much, that you’ll redden once again. Like after the water splash when you realised he’d seen your body so vulnerably, too many things, the thighs too fat and the nipples through your bra, God, all of it, and your hand flies to your mouth at the recollection but he drops his eyes as if he doesn’t want to intrude, as if he’s opened a door by mistake to your thoughts.

      There’s something fascinating about this man sitting before you in his summer-weight suit. You can’t quite put your finger on it but it’s something decent, old-fashioned, polite. Wrong for this world, for this cram of sex shops and neon lights where a girl languid by a doorway has a junky’s spots. This Gabriel Bonilla shouldn’t be here. He’s from another time, another place; the type of person who wouldn’t expect a woman to be driving a car if there was a man in it. There’s his Spanish name and yet fluent English – my mother is English, my father Spanish – and again there’s your laugh, bursting out; ah ha, so that explains it.

      What do you do, you ask.

      Guess.

      You lean forward, cup your chin in your palm: a teacher, doctor, spy?

      I’m an actor, he says.

      You sit back. Retract, just a touch. You don’t know any actors, you’re not sure you want to.

      I don’t recognise you. Should I?

      No, no, he chuckles. No one does, any more. I was famous once, for about a week, in my late teens. I did a dreadful soap – and he holds up his hand at your question, he’s not going to divulge – and then two Hollywood films that bombed, and I haven’t done much ever since. I now live in terror of appearing on one of those ‘Where Are They Now?’ shows.

      You laugh. You’ve always been distrustful of actors, have suspected that they’ve never really muddied their paws in the mess of life, they’ve lived it second-hand. This is unfair but you’re suddenly brisk. How on earth do you live, you ask.

      Voice-overs. Ads. Foreign video rights. The occasional guest role. And I was sensible when I was young. I bought a flat.

      What happens in between? How do you fill up your days?

      Let me see, I sleep until one p.m. Have a Scotch for breakfast. Do a line of coke. You both laugh. No, no, I go to the gym and do classes as the Actors Centre, go to casting, that type of thing. Read a lot, travel a lot, row, go to the movies, drink too much tea.

      You can’t grasp a life like this, none of your peers lives as loosely any more. This Gabriel Bonilla answers your questions as if he’s answered them a thousand times before and he couldn’t care less. The lack of concern over welfare and career path and what he’s doing with his life is intriguing, silly, odd. He strikes you as a man who’s not hungry for anything, he has a flat and enough money to get by; there’s no need to grasp or to rush. It’s not unattractive, this lightness. Then he says he’s working on a script about something else he’s addicted to and you lean forward: what, come on, tell me?

      Bullfighting.

      The gulp of a laugh. You stuff the little