Fairytale of New York. Miranda Dickinson

after his death—that broad, crinkly smile lighting up his lovely old face as he watches the ‘Kowalski’s kids’ with pride.

      ‘What are you doing Thursday evening next?’ Marnie asked later that afternoon, poking her head round the workroom door. Ed and I looked up from the red, white and gold-themed table centrepieces we were working on for Mr and Mrs Hymark’s Ruby Wedding party. Mrs Hymark worked for Mr K as a Saturday girl in her teens and has trusted Kowalski’s with her floral orders for every occasion since—from her own wedding to the birth of her children and grandchildren, birthdays, anniversaries and funerals.

      Ed, obviously unwilling to commit, deferred to me. ‘Uh, Rosie?’

      ‘Don’t look at me, Steinmann, I don’t manage your diary. I’m free, Marnie.’

      ‘Yeah, whatever. Although I was planning a quiet one…’

      I smiled firmly. ‘Ed and I are both free, Marnie.’

      Marnie gave a little whoop and clapped her hands. ‘Great!’

      Ed groaned the groan of dread-filled experience. ‘What have we just agreed to?’

      ‘The opening night of my community theatre play, of course!’

      A look of panic washed across his face. ‘Oh—wait—I just remembered, I have a…a…thing next Thursday.’

      Marnie’s face instantly fell. ‘What thing? Oh, Ed, can you reschedule? It’s really important that you guys come. It’s the world premiere, you know.’

      Ed opened his mouth to protest but I got there first. ‘We wouldn’t miss it for the world, Marnie.’

      A week later, Ed and I stood in the small queue outside Hudson River Players’ tiny studio theatre. To call it a theatre was lavishing high praise indeed: in truth, it was an old dock warehouse that had been converted ten years ago into a theatre space for the local neighbourhood. Nevertheless, for all the effort and care the drama group’s members had gone to for the ‘world premiere’ of their new play, it might as well have been Radio City Music Hall or Madison Square Garden.

      ‘Welcome,’ boomed a stony-faced, wiry-framed man clad entirely in black, who was handing out programmes like they were death warrants.

      ‘That’s debatable,’ muttered Ed as we passed into the shadowy heart of the black-curtained warehouse space.

      ‘Would you stop complaining?’ I hissed under my breath as we found our seats—or rather, wooden bench.

      ‘So, remind me again why we’re willingly inflicting this torture on ourselves tonight?’ Ed remarked, looking round at the other, equally unenthusiastic members of the audience.

      ‘We’re here for Marnie,’ I replied, trying to look interested in the Xeroxed programme but seeing only spelling mistakes—such as ‘dirrectors’ and ‘tragik’. ‘We promised.’

      ‘But it’s community theatre,’ he protested. ‘It’s like death, only much, much slower! I mean, come on, Rosie—look around you: nobody wants to be here. This place is worse than Edgar Allen Poe on twenty-four-hour repeat. Oh, wait, no—I think I’ve just seen him leaving because it’s too depressing.’

      ‘Be quiet and enjoy the experience. It’s Marnie’s play. Part of Kowalski’s family, remember?’

      Ed’s shoulders dropped in defeat. ‘Sure, I get it.’

      The play, it has to be said, was everything bad you’ve ever heard about experimental theatre—and then some. When we’d asked Marnie what it was about, she had solemnly informed us that Armageddon: The Miniseries was an ‘existential politico-comedy with tragic overtones’—which did nothing to enlighten us or prepare us for the experience. All seven actors were dressed in black and appeared to be playing about thirty parts each. ‘We use the Brechtian device of gestus to completely remove the audience from any perceived reality of the play, choosing instead to represent rather than impersonate,’ intoned the programme notes. ‘We have also challenged the concept of a single director, opting for a group-conscious approach in its stead.’

      A player ran onstage carrying a pig’s head in one hand and what appeared to be two pounds of tripe in the other.

      ‘This is the play that they make you watch when you’re eternally damned,’ whispered Ed, ‘over and over and over…Ow! That was my ankle!’

      ‘Shhhhh, Marnie’s coming on.’

      Marnie walked slowly to the centre of the stage with an expression like stone and a red ribbon tied around her left wrist. ‘Enough!’ she shouted, hands aloft like a Druid priest. ‘Time is not what we think it is!’ I could see her counting to three slowly and then she exited as solemnly as she had entered.

      ‘Two lines? I just sat through three hours of the worst play in the known universe for two lines?’ Ed moaned as we sat in the all-night diner across the street afterwards.

      ‘I know, but Marnie was so thrilled we came. And look, I bought you your favourite chocolate cheesecake to say thank you,’ I replied, pointing at the slab of dessert in front of him so big he could barely see over the top of it.

      Ed’s blue stare zoomed in on me. ‘Don’t think the “family” excuse is going to work on me every time, Duncan. Tonight I felt generous, that’s all.’

      I smiled. ‘Fine. You just keep telling yourself that, if it makes you feel better.’

      Ed muttered something obscene into his cheesecake.

      There’s always a lot of banter when Ed and I are together, mainly because we have so much in common. We share similar tastes in movies and music; we both consider huge steaming hot dogs and ice-cold papaya shake from Gray’s Papaya on West 72nd Street the finest guilty pleasure on a Sunday afternoon; and we both enjoy psycho-analysing everyone we meet in a manner that would impress even the cast of Dawson’s Creek. Most of all, we share a passion for New York: Ed because he’s lived here all his life and me because, well, I fell in love with the city the moment I got off the train at Grand Central Station and walked into the frenetic bustle of the world-famous concourse with its stunning star-strewn ceiling. Before I came here I didn’t really believe people who said New York felt like a place where dreams are made, yet that is completely what I felt on that first day; like anything was possible in this city—even the most implausible hope or wildest aspiration.

      It was Ed who encouraged me to explore New York and Ed who volunteered to escort me on my journey of discovery. So, most Sundays for the past five years or thereabouts, Ed and I have met on the subway and headed off to a new destination: strolling down Bleecker Street with its boho-chic boutiques; browsing superheroes old and new at Forbidden Planet, the comic shop on Broadway; watching the sun set across the city from the observation deck of the Empire State and Chrysler Buildings (‘You have to see both views to understand the race to be the tallest,’ Ed says); eating oysters in the vaulted brick bar nestled deep beneath Grand Central; sneaking into private Gramercy Park once after being slipped a coveted key by an old school friend of Ed’s who works at the Gramercy Hotel (seriously, the people Ed knows in this city you wouldn’t believe); and hour upon hour of long, laughter-filled conversations in various coffee houses, diners and restaurants across Manhattan. It’s true what they say about this city: it’s a million different experiences in one place. Even now, six years since I arrived, I don’t think I’ve even scratched the surface of the delights New York has to offer.

      The day after Marnie’s play was an unusually quiet one for Kowalski’s. Usually we don’t stop on a Friday from the minute we lift the shutters to the moment we turn the Open sign to Closed. We took the opportunity to do some long-overdue housekeeping around the store—the kind of jobs you always intend to get round to doing yet invariably end up putting off. We gave the light wood floor a good clean, dusted the shelves behind the counter, restocked the flower buckets and tidied up the workroom. Even Mr K’s old half-moon spectacles received a much-needed polish and sat resplendent