We laugh. We tell him we’re surprised: it doesn’t look like he eats much these days. We’re trying to tease him, or maybe compliment him, but our concern slides out headfirst.
“I was too fat,” he says. “Now I’m too skinny. That’s why we should get food. I’m going to waste away.”
Then he looks at me and says, “You’ve gotten skinny, too.” He takes my hand, its back facing up, and tells me to lift my fingers up by the knuckles. “See?” He taps each one of the long, delicate bones that protrude in response. “You don’t have any meat on you.”
“Neither do you,” I say.
We look at each other. Our director calls us to attention. But I can hear his mind still purring next to mine, like he and I are by ourselves in an adjoining room.
At the end of rehearsal, Sampson asks me where I live. “I ride your bus,” I say. “Every day.”
“No way,” he says. “How didn’t I know this? Why didn’t you tell me?” He faces me. “We should go get food. Let’s get food sometime.”
“Okay,” I say. “Let’s.” And I know that we won’t, but I’m praying we do.
We talk about it, how Sampson wants to get food with me. One of us says, “He has such a huge crush on you, Catherine. He gets so flustered when he’s around you.”
“I don’t think so,” I say, with a laugh. “He has Salome.”
“I mean, yeah, they’re fucking, but he likes you.”
“It’s like, he wants her, but he adores you.”
I don’t understand the difference, but we laugh it off. It’s sweet that he likes me, that he’s trying so hard. It’s funny, to think about getting food with Sampson. We can hardly imagine it!
But Sampson doesn’t mention getting food again for a long time. We assume that he was joking, or was stoned and forgot about it, or maybe he changed his mind. Maybe he was just hungry.
In French class, we match verbs with appropriate objects. The verbs are acheter, aimer, oublier, adorer, saluer—to buy, to love, to forget, to adore, to greet. The objects are abricots, devoirs, amis, cahiers, Dieu—apricots, homework, friends, notebooks, God.
We go around the room. “J’achète les amis,” says a boy in the back, snickering before he’s even finished his sentence. We would be amused, but it’s like this every day, and we are tired. He looks to Salome for approval, who does not look at him. She seems tired, too.
When it’s my turn, I say, “J’adore les abricots.”
“Non, non,” says our French teacher. “On aime les abricots. On adore Dieu.”
We’re in class when we hear commotion in the hallway. The door to our classroom is open. One of the English teachers is walking briskly down the hall, trailed by a lanky, smirking Salome. Our teacher pauses slightly to watch, but the trouble falls from his face just as quickly as it landed, and we resume.
When class lets out, we walk to the cafeteria for lunch and hear whispers that Salome, noticeably addled in class, was suspended for being stoned at school. As we’re digesting this, we see Sampson cut through the crowd in the hall, his bag dangling from one shoulder. The head of upper school is close behind. “Mr. Sampson,” he calls, “please don’t let this turn out poorly for you, too.” But he’s already gone, the door swinging apologetically behind him.
We’re stunned. Some of us are impressed. Some of us feel like Salome has gone too far. We frame it in worry—we’re concerned for what’s happening to her; we wonder if everything is okay— but we’re not worried. Secretly, we’re a little relieved. The awe we’ve felt for her has been tempered by consequence. No one’s burden is that light.
Performances begin. We’re nervous and excited and our energy spills off the stage, literally: in the first performance, someone accidentally knocks a plate into the orchestra pit, where it shatters to the sound of laughter and applause. Fortunately there was no orchestra in the pit, or things might have ended differently.
As the shows go on, we watch each other, really watch each other. We’ve all grown so much since we each slipped timidly into our roles like a chrysalis at the start of rehearsals. Now we are magnificent. We speak our lines like they’re our own words, as easy as thinking, as easy as hope. We will miss the intimacy our characters share when this ends. We will miss the close physical space the play has forced our bodies to inhabit together.
We’re thinking about this onstage and off, in the wings while we’re waiting for our cue. We’re thinking about it just before our final entrance, while we stand alone in the wings. Then there is another presence, a breath, beside me like a ghost, but this is a ghost I know. Two slender hands alight on my waist, and when I don’t move away, they encircle me, and the body that belongs to them nests itself behind me. I have never been touched this way. I can feel every curve of his body even though he barely hovers behind me, his touch so light. I feel so light. I thread my fingers through his and I feel, for the first time in a year, more than the thrill of the stage or the draw of Salome’s beauty or the divinity of an empty stomach. This is adoration.
He and I stand there in the dark, our sad, hard edges locked together to make something larger than ourselves, until we hear our cue. And so he and I break apart, and he and I drift onstage, and we resume our roles.
The play ends. Things go back to normal. We go back to riding the four o’clock bus home. We’re relieved, but a little sad. It feels like a larger kind of ending.
The season changes, and so does the light. It streams long and late through our classroom windows onto our desks. It shoots and bends through the bus like a prism. We are illuminated. We feel, however fleetingly, like we’re coming alive.
Here at the end of the year, all of us about to go our separate ways, everyone changes. It’s sort of sudden, but when it happens it’s like we knew it would happen all along. It’s like the curtain has fallen at the end of the play that has been our time at this school, and we’re leaving the theater, freed from the characters we have played for so long. We are finally ourselves.
People talk to us who have never really talked to us before. People do things they’ve never done before. Some of us get wasted at the graduation party and find ourselves embracing people we thought we hated. Some of us are a little drunk, leaning against a wall at the graduation party, watching our friends, when Salome appears.
“Come to the balcony,” she says. Then she takes my hand, and we thread through the throng of all kinds of people I suddenly don’t care about as she leads me there.
Waiting on the balcony is Sampson. He smiles, then exchanges a look with Salome.
“So,” Salome says, “we heard you wanted to try this.”
I stare. Then Sampson produces what looks like a skinny, hand- rolled cigarette.
“Oh,” I say, “it’s really okay.” But Salome has already taken it and lit it, and she puts it to her perfect lips, inhales deeply. Then she passes it to Sampson, who takes a drag, and then offers it to me. Hesitantly I take it, lift it to my lips as they watch.
“I don’t know how to do this,” I admit.
“Just breathe,” says Salome. I expect her to be impatient with me, but she’s smiling, eager, like we’re all in on something together.
I inhale and then cough. Sampson pats me on the back, and when I can finally take a breath, I see they’re looking at me expectantly. I’m about to give them a smile, to signal I’m okay, when it comes over me: the lightness I’ve been chasing all year, that I’ve only found onstage or in an empty stomach, or just one other time, when Sampson held me in the dark.
We pass the joint around as the sun sets behind the city skyline, until I can’t take anymore. Salome and Sampson talk a little, but I’m content to just listen to the sound: the music of two voices that know each other so well they’ve become seamless.
“I’m going to miss you guys,” says Salome. For an instant in her voice I hear the old Salome, the shy, quiet one—the one I thought everyone had missed but me. Then I think: Maybe there is no old Salome. Maybe she never really changed. Maybe it’s us who started seeing her differently. Then I remember we’re all high.
“You won’t miss me that much,” I say with a laugh. “We didn’t really hang out.”
“I always thought we might,” she says. “Anyway, it’s been nice to know you’re there.”
We’re quiet again. “You feel okay?” Sampson says to me.
I nod, but in the dark he can’t see the motion. The lightness rolls in waves. I take a breath and reach my hand out, and as I do I feel his reaching out toward mine.