Being back on days, studying as well as spending time on the ward, seemed more tiring somehow than nights. We missed the interludes with -- or without -- Tim in the break room, and the times overnight when Beth and I could tease one another and imagine. But the upside was always coming home to whatever Tim had cooked for us, then at the very least a cuddle, usually more, before the three of us drifted off to sleep, tangled up in one another in our big bed.
Liz and Claire were suitably impressed with my ring -- "That's what I like, a man who doesn't hang about," nodded Claire -- and they approved of our honeymoon plans. "You sure you wouldn't be tempted to slide in for a cuddle, though, Beth?" Liz teased, glancing at Claire -- I managed not to look startled, and wondered if the two of them might be more than just the good friends we'd assumed.
Finally Saturday came round again, and we had an unashamedly lazy morning. "Good job I got all the housework done in between," Tim teased.
"And we're really grateful," I nodded, kissing him. "Right, Beth?"
A kiss from her too. "So we should treat you somehow in return."
I grinned, pretending to roll my eyes. "I know what that usually means."
"Hey," Tim protested with a chuckle. "I'm sure you two can think of a treat where we all keep our clothes on."
"We accept the challenge," smiled Beth. "Ideas, Alice?"
"How about a play or something? I think they sometimes do open air Shakespeare at that garden place."
"Mm, yes." Beth pulled out her phone. "They have The Merchant of Venice on this afternoon."
A quick shower and a detour to McDonalds for lunch, and we were on our way to the gardens. "I hope they have tickets left," Beth crossed her fingers.
There was a ticket booth at the entrance -- "These are literally the last three seats," the girl behind the counter told us -- and we parked, then made our way to the grassy area in front of the temporary platform.
The first three actors stepped onto the stage and began their dialogue. I listened intently, trying to follow the archaic language, but their talk of trade and sailing didn't catch my imagination. Then Bassanio entered the conversation -- 'In Belmont is a lady richly left; and she is fair'-- and I threw Beth a grin. "That's what this is really about, right?"
The other actors left the stage, and two young women entered. "I feel sorry for Portia," Beth whispered, "having to do what her father's will said.'
I nodded. "But it's a good, what do they call it, plot device -- the caskets, and the list of awful suitors. Everybody knows that the hero gets the girl, so they can just enjoy how it works out, and the tension when it seems like it's all going wrong. Like a Mills and Boon."
Beth pretended to be horrified. "You can't say that," she grinned. "This is the greatest playwright in the English language..."
We turned back to the dialogue, listening to the conversation between Bassanio, Shylock and Antonio. "This is a bit confusing," admitted Tim. "Maybe I ought to dig out Grandad's old Bible."
"The main thing is the pound of flesh, though," ventured Beth.
The action moved back to Portia's attempt to shake off her suitors, and I looked puzzled. "There seems to be a lot of blood in this -- doesn't it have later, if you prick us, do we not bleed?"
Beth nodded. "And a lot about race, too -- the Moroccan is black, but Portia says there's at least as much chance she'd love him as she might the others, if she was free to choose."
We chuckled at the exchange between Launcelot and Gobbo -- "There's always some part that's just supposed to be funny, like the Mechanicals," supplied Beth -- then the scene moved on to Jessica's intention to elope with Lorenzo. "Still keeping up?" grinned Tim.
Eventually the scene moved back to Portia's house, and the detail of the caskets and their inscriptions. We held our breath, then Beth gave a sigh of relief as the Moroccan chose the wrong casket. "Oh, that's where it comes from," I ventured, "all that glitters is not gold."
Beth leaned forward. "Did the prince of Arragon really say that? That all the suitors had to swear not ever to marry if they picked the wrong casket? Wow."
"Look," I touched her shoulder. "It's Bassanio's turn."
Beth nodded. "Oh, listen, he mentions India -- it must have been like, I don't know, travelling to Mars in those days, and the people so strange, almost alien. 'The beauteous scarf, veiling an Indian beauty' -- I think he means she was dangerous, maybe in an erotic sense."
"That's what the East India Company ended up thinking," agreed Tim. "Didn't they eventually ban their employees from liaisons or marriages with the locals?"
"The only liaisons you'd better be thinking about are with your two concubines," teased Beth. "But we promise to make it worth your while if you buy us enough jewels."
"Shh," I breathed, "Bassanio's about to choose."
"Oh, wow," breathed Beth. "The right casket, with Portia's picture in it. If this is a Mills and Boon, this is definitely the part where you think it's the happy ending, before it all goes wrong and they're torn apart again."
Bassanio read from the scroll -- "Turn you where your lady is, and claim her with a loving kiss," and I felt unmistakeable tears prick at my eyes as he did just that. "I know it's a bit old-fashioned, but she really means it when she gives herself and everything she has to him."
Beth chuckled. "Want to write that into your wedding vows?"
She looked thoughtful. "Shakespeare swaps things around -- he makes her give Bassanio a ring as a promise. Maybe you could get Tim something, too, Alice?"
"Mm, great idea."
Salerio entered the stage carrying a letter, and Beth leaned over to whisper. "This is where the bad stuff starts to happen, because Bassanio has stood security for Antonio's loan."
I nodded. "But see how Portia loves him already -- she says, whatever good or trouble comes in the letter, half is hers because she's his."
I glanced at Tim, and brushed at my cheek. "Damn, I hope I can love him like that."