"Allow me to lend a hand," the vicar said, seizing a rope handle at the end of a black coffin-shaped trunk with the word "Galligantus" stenciled upon it in white letters, as Rupert took the other end.
Nialla and I went back and forth, back and forth, with the lighter bits and pieces, and within half an hour, everything was piled up inside the parish hall in front of the stage.
"Well done!" the vicar said, dusting off the sleeves of his jacket. "Well done, indeed. Now then, would Saturday be suitable? For the show, I mean? Let me see ... today is Thursday ... that would give you an extra day to make ready, as well as time to have your van repaired."
"Sounds all right to me," Rupert said. Nialla nodded, even though she hadn't been asked.
"Saturday it is, then. I'll have Cynthia run off handbills on the hectograph. She can take them round the shops tomorrow ... slap a few up in strategic places. Cynthia's such a good sport about these things."
Of the many phrases that came to mind to describe Cynthia Richardson, "good sport" was not among them; "ogress," however, was.
It was after all Cynthia, with her rodent features, who had once caught me teetering tiptoe on the altar of St. Tancred's, using one of Father's straight razors to scrape a sample of blue zafre from a medieval stained-glass window. Zafre was an impure basic arsenate of cobalt, prepared by roasting, which the craftsmen of the Middle Ages had used for painting on glass, and I was simply dying to analyze the stuff in my laboratory to determine how successful its makers had been in the essential step of freeing it of iron.
Cynthia had seized me, upended me, and spanked me on the spot, making what I thought to be unfair use of a nearby copy of Hymns Ancient and Modern (Standard Edition).
"What you have done, Flavia, is not worthy of congratulation," Father said when I reported this outrage to him. "You have ruined a perfectly good Thiers-Issard hollow-ground blade."
I have to admit, though, that Cynthia was a great organizer, but then, so were the men with whips who got the pyramids built. Certainly, if anyone could manage to paper Bishop's Lacey from end to end in three days with handbills, it was Cynthia Richardson.
"Hold on!" the vicar exclaimed. "I've just had the most splendid idea! Tell me what you think. Why not present two shows rather than one? I don't claim to be an expert in the art of the puppet theater, by any means — knowing what is possible and what is not, and so forth — but why not put on a show Saturday afternoon for the children, and another Saturday evening, when more of the grownups would be free to attend?"
Rupert did not reply at once, but stood rubbing his chin. Even I could see instantly that two performances would double the take at the box office.
"Well ..." he said at last. "I suppose. It would have to be the same show both times, though ..."
"Splendid!" said the vicar. "What's it to be, then ... the program, that is?"
"Open with a short musical piece," Rupert said. "It's a new one I've been working up. No one's seen it yet, so this would be a good chance to try it out. Then Jack and the Beanstalk. They always clamor for Jack and the Beanstalk, young and old alike. Classic fare. Very popular."
"Smashing!" the vicar said. He pulled a folded sheet of paper and the nub of a pencil from an inner pocket and scribbled a few notes.
"How's this?" he asked, with a final flourish, then, with a pleased look on his face, read aloud what he had written:"Direct from London!
"I hope you'll forgive the small fib and the exclamation point," he whispered to Nialla."Porson's Puppets
"(Operated by the acclaimed Rupert Porson. As seen on the BBC Television)"Program"I. A Musical Interlude
"II. Jack and the Beanstalk(The former being presented for the first time on any stage; the latter declared to be universally popular with old and young alike.)
Saturday, July 22nd, 1950, at St. Tancred's Parish Hall, Bishop's Lacey.
Performances at 2:00 P.M. and 7:00 P.M. sharp!
"... Otherwise they'll just dawdle in," he added. "I'll have Cynthia dash off a sketch of a little jointed figure with strings to put at the top. She's an exceedingly talented artist, you know — not that she's had as many opportunities as she'd like to express herself — oh, dear, I fear I'm rambling. I'd best away to my telephonic duties."
And with that he was gone.
"Peculiar old duck," Rupert remarked.
"He's all right," I told him. "He leads rather a sad life."
"Ah," Rupert said, "I know what you mean. Funerals, and all that."
"Yes," I said. "Funerals and all that."
But I was thinking more of Cynthia.
"Which way to the mains?" Rupert asked suddenly.
For a moment I was dumbfounded. I must have looked particularly unintelligent.
"The mains," he repeated. "The current. The electrical controls. But then I don't suppose you'd know where they are, would you?"
As it happened, I did. Only weeks before I had been press-ganged into standing backstage with Mrs. Witty, helping to throw the massive levers of the antique lighting control panel, as her first-year ballet students tripped across the boards in their recital of The Golden Apples of the Sun, in which Pomona (Deirdre Skidmore, in insect netting) wooed the reluctant Hyas (a red-faced Gerald Plunkett in improvised tights cut from a pair of winter-weight long johns), by presenting him with an ever-growing assortment of papier-mache fruit.
"Stage right," I said. "Behind the black tormentor curtains."
Rupert blinked once or twice, shot me a barbed look, and clattered back up the narrow steps to the stage. For a few moments we could hear him muttering away to himself up there, punctuated by the metallic sounds of panels being opened and slammed, and switches clicked on and off.
"Don't mind him," Nialla whispered. "He's always nervous as a cat from the minute a show's booked until the final curtain falls. After that, he's generally as right as rain."
As Rupert tinkered with the electricity, Nialla began unfastening several bundles of smooth wooden posts, which were bound tightly together with leather straps.
"The stage," she told me. "It all fits together with bolts and butterfly nuts. Rupert designed and built it all himself. Mind your fingers."
I had stepped forward to help her with some of the longer pieces.
"I can do it myself, thanks," she said. "I've done it hundreds of times — got it down to a science. Only thing that needs two to lift is the floor."
A rustling sound behind me made me turn around. There stood the vicar with rather an unhappy look on his face.
"Not good news, I'm afraid," he said. "Mrs. Archer tells me that Bert has gone up to London for a training course and won't be back until tomorrow, and there's no answer at Culverhouse Farm, where I had hoped to put you up. But then Mrs. I doesn't often answer the telephone when she's home alone. She'll be bringing the eggs down on Saturday, but by then it will be far too late. I'd offer the vicarage, of course, but Cynthia has quite forcibly reminded me that we're in the midst of painting the guest rooms: beds taken down and stowed in the hallways, armoires blockading the landings, and so forth. Maddening, really."
"Don't fret, Vicar," Rupert said from the stage.
I nearly jumped out of my skin. I'd forgotten he was there.
"We'll camp where we are, in the churchyard. We've a good tent in the van, with wool rugs and a rubber groundsheet, a little Primus stove, and beans in a tin for breakfast. We'll be as cozy as bugs in a blanket."