‘Hello,’ I said.
In a single fluid gesture she uncrossed her legs, turned, and stood. She did it with the sort of easy grace that can only come with practice. She had not exchanged obvious beauty for subtle loveliness. No, hers was still a quite obvious loveliness. She saw me and laughed; crow’s feet around her eyes and the angles of her face no longer seemed quite so sculpted, but for all that she was just as unapproachably lovely as when she had played Lady Macbeth.
‘It’s a stunning resemblance,’ she said in that lilting voice of hers which could deepen into gravity so unexpectedly. ‘All in the eyes, of course. Come here and give your old aunty a hug.’
I did, and was surprised by the fierceness of her embrace. ‘Samina’s daughter. My God, Samina’s daughter all grown up.’
Ed had something of her tempo of speaking. I hadn’t realized that until now.
She released me and pointed to the chair opposite her. While I had taken my twirl around the roof someone had placed na’ans and chicken tikkas and chutneys on the table. I sat down and almost immediately a moist tongue licked my foot. I jerked my feet up, and a chihuahua darted out from under the table.
‘Director, come here!’ The bonsai dog turned to Shehnaz Saeed. ‘Basket!’ she said, and Director skittered towards the door leading back into the house.
‘Did you choose that name as a tribute or an insult?’ I asked. The question launched her into a series of tales about her theatrical days and all the triumphs and tribulations she had faced. She had the extraordinary ability to speak only in short bursts, creating the impression that she was allowing me ample opportunity to be part of the conversation, yet she ended every series of sentences with the artfulness of Scheherazade drawing the night’s story-telling to a close—‘Of course that wasn’t the worst disaster!’ or ‘If only people knew the truth about his eyebrows’ or ‘We called her Peking Duck, for reasons you might be able to guess’—so ultimately my side of the exchange consisted of little more than ‘Why?’ and ‘How?’ and ‘What do you mean?’ The most aggravating part of sitting through her self-obsessed performance of her own past was the adolescent voice inside me squealing, ‘IT’S SHEHNAZ SAEED!’
When she finally slipped up and broke off speaking at ‘And that was that’ I knew I should take the opportunity to ask about the encrypted page she had sent me, but I didn’t know quite how to broach the subject. So instead I asked, ‘Why return to acting now? And why on television? It’s obvious theatre’s where your heart is.’
‘My heart…’ she said dramatically, placing her hand over the organ in question as though to reassure herself it hadn’t been left behind in a theatre somewhere. ‘My heart is a spoilt child, demanding all the attention, insisting it remain central to all decisions. Isn’t it time to attend to other, more neglected organs?’
I was sufficiently overwhelmed by my proximity to greatness to nod knowingly at that bit of absurdity.
She laughed — not the tinkling laughter that had punctuated her Tales of Before but a deep, rolling laughter. ‘Oh, Aasmaani, your mother would have tossed that chicken carcass at me for such a statement. And look at you, so earnest, trying valiantly to take me seriously. You’ve been doing it all through lunch.’
For a moment all I could do was stare at her. Despite my earlier self-vaunting about knowing a thing or two about women who were legends, I had walked in here with exactly the kind of attitude I had seen so many women adopt when they first met my mother — a determination to see some mythic being, a determination so strong that my mother occasionally found herself behaving in ways entirely alien to her personality just because it seemed impolite to shatter the illusions others had about her. So, for their benefit she’d turn into a woman with no time for trivialities, no concern except Justice with a capital J. And I, who had rolled my eyes at all those people, had come in here wanting — so desperately wanting — to have lunch with a star that I even interpreted the way her door was left ajar as a sign of theatricality. And Shehnaz Saeed had seen it right away, the way my mother sometimes saw it instantly in certain people. They-who-would-feel-betrayed-if-they-knew-I-love-disco, is how my mother referred to the mythologizers.
I hadn’t thought about that side of her in a long time — but all at once she was before my eyes, laughing, ‘Oh for endless summer days! Donna Summer days!’ as she danced around her living room in outrageous gold heels, taking my hand and pulling me into the dance with her.
I picked up a chicken bone, and pretended to aim it at Shehnaz Saeed’s head. ‘You’ve been playing me this whole time!’
‘That’s better,’ she said, and patted my hand, suddenly maternal in a way that made my throat clench. ‘Now I’ll answer you truthfully about my return to acting. It’s quite obvious by now that I’m past any possibility of child-bearing, so that puts aside my initial reason for giving up the acting life. And while we’re on the subject, I’ll confirm the rumours for you — my husband really is my husband in name only.’
I looked down at my plate, discomfited. ‘You don’t have to tell me that.’
‘Oh, it’s hardly a secret. I find it so irritating when I meet new people and they pretend not to know, and there’s all this tiptoeing around things. And with you it would be particularly silly. I mean, it’s not as though I’m unaware my personal life is a topic of gossip in the gonorrhoea office.’ We laughed together at that and I thought, yes, I can believe you were my mother’s friend before her gold heels gathered dust and cobwebs. But did she ever laugh with you in those final two years before she disappeared?
‘To return once more to your question,’ Shehnaz Saeed said, dabbing at her eyes with a napkin. I was irritated to find myself noticing that the laughter had produced a single tear-drop which shimmered in the corner of her eye. ‘Quite simply, I want to act again. But I’m more than a little frightened. So I need the safety nets that an ensemble piece on television, with all its possibilities of retakes and editing, can provide. When that’s done, you’re right, I’ll go back to the stage. Lady Macbeth again, I think. I don’t really have the heart to play Laila once more, even if it were a plausible role at my age.’ She rolled her eyes just slightly at the last three words, and then smiled self-deprecatingly when she saw I had noticed. ‘Think of it as a retired Olympic-gold diver walking to the edge of a low diving-board and jumping feet first into the water. It’s obvious to everyone you’re just limbering up, remembering how to use those old muscles. Maybe some people will wonder why you need to do that, but no one’s going to criticize you for being something less than extraordinary in the way you perform the leap. But it gets you back at the pool. And you carry on doing those little boring jumps for a while until people get used to seeing you there, by the water’s edge. They stop looking at you in that greedy expectant way. Then, no fuss, you get out of the pool, walk up the stairs to the high board, and execute a perfect jack-knife, the barest ripple as your body breaks through the surface.’
‘Ah,’ I said. ‘Now that makes sense. Though Kiran Hilal will not be pleased to have her baby compared to a foot-first leap from a low diving-board.’
She smiled. ‘Dear Kiran. You know, I acted in the first play she ever wrote for television. If she could forgive my retirement — which she did, but it took a while — she can forgive my analogies.’
‘And then there’s that other reason you have for going back to work.’ She tilted her head to one side. ‘Your son.’
‘Oh, yes. Ed.’ She pulled the rose out from behind her ear and ran her fingers over the petals. ‘How are the two of you getting on?’