Dawson moved slowly across the carpet and sprang on to the bed Margaret had just made up. He sniffed the pil ows. Then he turned and trampled round in a circle for a while and lowered himself into a comfortable heap of cat in the middle of the paisley quilt, closing his eyes and flattening his ears in anticipation of Margaret’s tel ing him that he was to get up and get off that bed at once.

She didn’t. She went across the room and fiddled with some china ornaments on top of the chest of drawers, and then she opened the wardrobe and looked at the padded hangers inside and then she went to the window and looked out at the early-summer sea, which was blue-grey under a grey-blue sky. Dawson opened his eyes cautiously and al owed his ears to rise discreetly again.

‘D’you know,’ Margaret said, and stopped.

She picked up the wooden acorn attached to the window blind, and examined it.

‘D’you know,’ Margaret said again, her back stil to Dawson, ‘I am real y very nervous.’

Scott opened the door of his flat and stood back so that Amy could see right down the room.

She gazed for a while in silence, and then she took a step inside and said softly, ‘Oh wow.’

Scott fol owed her and shut the door. He slid her rucksack off his shoulder and lowered it gently to the floor.

‘This is amazing,’ Amy said.

She began to walk down the length of the room very deliberately, step after step, silent in her canvas basebal boots. Scott stayed where he was, and watched her. She was looking from side to side, at the kitchen area, at the black sofa, at the bare bricks of the wal s, at Scott’s col ection of reproduction Cartier-Bresson photographs. When she got to the piano, she stopped and put her hands on it lightly.

‘This looks so cool here.’

Scott swal owed.

‘D’you real y think so?’

Amy nodded.

‘It used to stand on a carpet. Dad hated it being on a carpet, but Mum said it had to, to insulate the noise, because of the neighbours. It looks much better on a floor.’

Scott began to move towards her.

‘D’you like my view?’

Amy glanced up.

‘Oh my God—’

‘D’you remember asking me about the Tyne Bridge? That’s the Tyne Bridge.’

Amy raised an arm and pointed.

‘And what’s that? The silver thing.’

‘It’s the Sage,’ Scott said.

‘The Sage—’

‘Two concert hal s, a music education centre, a children’s concert hal , the home of the Northern Sinfonia. Peggy Seeger came last year.’

Amy said, ‘It’s like being abroad, it’s so different—’

‘Yes.’

She looked down at the piano.

‘I suppose—’

‘What?’

‘I suppose this has sort of come home?’

‘Except that it was probably made in America.’

She shot him a quick smile.

‘You don’t want me to get sentimental—’

‘No, I don’t.’

She looked back along the flat.

‘This is so great.’

‘I like it,’ Scott said. ‘My mother doesn’t get it. Can’t get it. She thinks it’s barbaric to live in a place like this.’

‘Let’s – not talk about mothers.’

‘Fine.’

‘While I’m here,’ Amy said, ‘I don’t want to wonder if I shouldn’t be here.’

‘I shan’t remind you.’

‘Where’m I sleeping?’

Scott moved behind the piano and opened his bedroom door.

‘Here.’

Amy took in the sparseness, and the size of the window, and the Yamaha keyboard at the end of the bed.

She said, ‘ Wicked—’

‘I’m sleeping on the sofa.’

‘D’you – d’you mind?’

‘I like the sofa. I’ve often slept, unintentional y if you get me, on the sofa.’

Amy sat down on the edge of the bed and leaned backwards, spreading her hands out on the new bedlinen, stil marked by the sharp creases of its packaging.

‘What are we going to do?’

Scott leaned against the door jamb. He folded his arms. He had a sudden, exhilarating sense of freedom, a sense that the next few days were not, actual y, going to be crippled by either the distant past or the recent past, that Amy had come north not so much for family reasons as for reasons of her own, which in turn, and wonderful y, liberated him.

‘Wel , he said, ‘when I’ve shown you around a bit, I’m going to take you to a folk club.’

Amy sat up.

‘A folk club?’

‘You’re in Newcastle. You’re in the birthplace of the living tradition. I’m taking you to hear a girl who plays jazz, who plays folk. On her flute.’

‘Oh!’ Amy said, and then, again, ‘ Wow.’

‘Mr Harrison cal ed,’ Glenda said. She did not say that Mr Harrison’s secretary had cal ed, wanting to speak to Margaret, and when Margaret didn’t ring back Mr Harrison had rung himself, as if his presence on the other end of a telephone line might conjure Margaret up by its very power.

‘Oh yes,’ Margaret said.

‘Would you like to know why?’

‘Not particularly,’ Margaret said.

Glenda went on typing. There was a difference, in her view, between being rather admirably strong-minded and resistant to cajolery and, on the other hand, taking that resistance so far that you looked like a sulky adolescent. She had learned, too, that if she ignored both Margaret and Barry –

two very different personalities who shared a singular capacity for pig-headedness – they would capitulate to being ignored long before she gave in out of pity. She kept an eye on Margaret, using her peripheral vision, but continued to look steadily and straight ahead at her screen.

‘I can’t concentrate today,’ Margaret said abruptly.

Glenda let a beat fal , and then she said, ‘It’s that girl coming.’

‘I haven’t had anyone of eighteen in the house since Scott was that age. Twenty years or more. What do they eat, for heaven’s sake?’

‘What you give them,’ Glenda said.

‘Wel ,’ Margaret said, ‘it’l be Sunday lunch at the Grand Hotel. I’ve fixed that, with Scott. I told him, Sunday lunch and don’t you wear trainers.’

‘I’ve never been to the Grand Hotel—’

‘Haven’t you, dear? I’l take you on your fiftieth.’

‘I had my fiftieth four years ago.’

‘Sixtieth, then.’

‘I may be dead by then—’

Margaret looked up.

‘Don’t talk rubbish.’

‘She’s a lucky girl,’ Glenda said, ‘sleeping in your guestroom, having lunch at the Grand Hotel.’

‘ She’s Richie’s daughter — ’

‘She can’t help that.’

‘Glenda,’ Margaret said, ‘what did Bernie Harrison want?’

Without hurry, Glenda sifted through the papers on her desk to find the note she had made of his message.

‘He said he has two people he’d like you to hear, just for your opinion, one a singer, one a pianist, and he would like to invite you for dinner or cocktails or cocktails and dinner and he’s given you a choice of five dates.’

‘ Five?’

‘He said you couldn’t go to the dentist on five occasions and get away with it.’

‘I don’t see my dentist in the evenings—’

Glenda held out the note.

‘If we spoke like that, trying to be funny, to our mam, she’d say, “Get along with you, Mrs Teapot,” and I never understood why.’

Margaret took the note.

‘He doesn’t give up, does he?’

‘No.’

‘On and on and on—’

‘He means it.’

‘Glenda,’ Margaret said, ‘I have nothing to offer him.’

Glenda gave a smal snort.

Margaret said, ‘Nothing new.’

‘New isn’t what he’s after.’

‘But I need it. I’m in a rut—’

Glenda said, ‘Don’t start that again.’

‘I’l ring him tomorrow.’

‘I said you’d cal by close of business today.’

‘And what, precisely, do you suggest that I say?’

Glenda typed a few more words. Then she said, without turning to look at Margaret, ‘Why don’t you ask him to lunch, too? At the Grand Hotel.

Wouldn’t it be easier, four of you, rather than just the three, with you fussing about Scott’s footwear?’

* * *

They drove to the folk club in a taxi. Amy had assumed that Scott would have a car, but he said that there was no need for one, living in the city as he did, and the way he said it made her wonder if he could drive, and for the first time since she had arrived in Newcastle she felt shy, too shy to ask him something so personal. It was, in a way, like asking someone if they could read, especial y a man, so she said nothing and climbed into the taxi with him, quel ing an instinct to remark that they never used taxis at home, that either Chrissie or her sisters drove – she hated being driven by Dil y

– or they used public transport.

‘We’re going over the river,’ Scott said, ‘we’re going south. We’re heading for Washington.’

Amy looked out of the taxi window. Newcastle looked to her as it had looked al afternoon, dramatical y foreign. She hadn’t expected the hil s, or the grandeur of the architecture, or the size of the river, or the romance of al those bridges. Nor had she expected the energy, or the numbers of people on the streets of her own age. She felt she had been plucked out of the familiar and set down again in an extraordinary and fantastical version of the familiar – it was stil England, after al , and a remarkable kind of English was stil spoken – which was giving her a powerful and energizing feeling of discovery. Scott had walked her al through the centre that afternoon, up and down those steep, almost theatrical streets, past churches and St Mary’s Cathedral, through Charlotte Square and Black Friars, round the Castle Keep and the Moot Hal , past Bessie Surtees House, with its innumerable medieval windows, and Earl Grey, with a lightning conductor inserted up his spine, poised on his column a hundred and thirty-five feet above the kids lounging and smoking on the sandstone steps below him. She felt dazed and thril ingly very far from home, and she was grateful to Scott for not talking to her, for just sitting beside her in the taxi and saying whatever he did say to the driver, while she looked at the river, and the sky, and then they were on a huge road heading south and she felt as she used to feel when she was a child in the back of the car, like a human parcel that had no power to do anything other than be carried somewhere and put down, at someone else’s whim, precisely where she was taken and told.