Sometimes life has a habit of creeping up on you and sending you careering down a different and unexpected trajectory. Nicola – the stand-in Chapter 1 by Louise Anne Smithson Copyright © 2021 Louise Anne Smithson All Rights Reserved.

Just when I had at last decided that my ambitions of becoming a famous jockey were unlikely to work out and I needed to look for something different to do with my life, a new and unexpected opportunity presented itself.

One day during the late spring of 2018 I had a temporary job looking after several horses that were going to be used on a film location in the West of England . I had just finished exercising and grooming Moonbeam a fine looking bay New Forest pony and was sweeping out the next stall ready for the expected arival of further horses. The production company had rented a large barn that had been converted into a temporary stable for the duration of the filming. A small party of smartly dressed men and women entered: one or two of them were carrying tablet computers. They walked over to the next stall to inspect the horse but I doubt whether most of the group even noticed me’

‘This is ‘Moonbeam’; you’ll be riding her next week, Amy’ said Frank Wilson, whom I recognised as the director. ‘I’m told that she has a placid temperament and is quite used to being filmed.’

I also recognised the attractive young woman with long shining raven black hair that he was addressing. It was Amy O’Donnell the youngest member of the group. Although she was barely twenty, she’d made quite a name for herself on television recently, initially as a popular child actress in a soap opera followed by a successful pop recording and a stint on a celebrity reality show. I’d read somewhere that she was now hoping to begin a career in films. Amy walked over and stroked the horse’s neck.

‘She’s rather big for a pony, isn’t she?’ she said a little anxiously. ‘The ponies that I used to ride as a girl weren’t nearly as big as that.

Frank Wilson, noticed that I was listening to the conversation, on the periphery of the group.

‘Hey! You there!’ Is that right?’

‘She’s fourteen and a half hands, which is a little on the large side, but she’s still within the recognised range for a pony,’ I replied. Then I added as an afterthought: ‘she needs to be fairly sturdy to be able to carry Miss O’Donnell when she’s riding side-saddle.’

Amy turned to look at me.

‘Are you suggesting that I need a big horse to carry my weight?‘ she said, in mock outrage.

She knew perfectly well that she was not overweight, quite the opposite in fact. I’m sure she wasn’t being serious in her comment but I blushed at my faux pas, all the same.

‘Oh no, I didn’t mean that at all, Miss O’Donnell, it’s just that when you ride side saddle your weight is on one side of the pony’s back rather than in the centre and so you need a stronger animal.’

‘No-one said anything to me about my riding side-saddle!’ continued Amy, this time addressing the assembled group. ‘Why can’t I ride astride, as normal?’

‘The film is set in the 1860s when all aristocratic young women would have ridden side-saddle,’ said Frank patiently.

Amy had been offered the part of Lucy Robarts, the young love interest in Anthony Trollope’s Framley Parsonage. It would be a good debut role for her film career except that Lucy was described in the book as ‘a bold and accomplished horsewoman’ and so there had been one scene added to the script where she took part in a foxhunt. However, it was now obvious that an acquaintance with English literature or an understanding of nineteenth century horsewomanship were both lacking in the education of Amy or her agent.’

‘You didn’t specify in the contract that Amy would be required to ride side-saddle,’ said her agent.

‘We discussed this matter at some length with your personal assistant; she assured us that you were an accomplished horse rider and had no need of a stand-in,’ said Joan Weaver, the assistant director, addressing both Amy and the agent.

‘Lorna, my P.A. left me for another job ten days ago, so we cannot check on what she told you,’ said Amy.

‘The fee that we agreed took that into account,’ added Joan.

‘I would be petrified to be riding side saddle on that brute, I assumed you would have stand-ins for this kind of work,’ said Amy.

‘You’ve had the final script for several weeks now and have had plenty of time to raise any issues before you signed the contract,’ added Joan in frustration.
‘We’re due to begin filming the equestrian scenes in two days’ time. I doubt if I would be able to get a qualified horsewoman on set in that time, especially one who is the same age and build as you are.’

I coughed politely, as if asking permission to speak. The group turned to look at me.

‘Yes?’ said Frank.

‘Side-saddle riding is not so difficult once you get used to it. I’ve been riding that way for the last fortnight so that Moonbeam would get used to the idea. I could give Miss O’Donnell a lesson in how it’s done if that would be of help.’

‘And will you be there to catch me when I fall off?’ Amy asked.

I guess that she had noticed that I was no taller or much stronger than she was.

‘I’m sure that someone will always be around to make sure that you’re seated correctly and that Moonbeam is nice and calm,’ I replied.

‘What’s your name?’ asked Amy.

‘Nick Stevens.’

'Very well, Nick Stevens, I have a couple of hours to spare before my costume fitting this afternoon, I’ll come back at 2.00 o’clock for a lesson from you and see how I get on.’

I looked across to Frank and he nodded to confirm that it was alright.
Amy then added as an afterthought, ‘and you can stop calling me Miss O’Donnell; call me Amy.’

I nodded and went bright red. The party moved on to look at other features of the location, and I returned to tending the remaining animals.

‘Moonbeam isn’t a brute, she’s one of the gentlest ponies I’ve known,’ I thought to myself, but at the same time I felt quite in awe at having spoken to the famous Amy O’Donnell. What is more I would soon be giving her a riding lesson. That would be something to tell the two guys that I shared a room with when I got home later that evening.

At 4.15 pm I was about to start unsaddling Moonbeam, when Frank Wilson and his assistant came back in, this time without the rest of their entourage.

‘Well Nick, how did Amy get on this afternoon?’ he asked.

‘She left half an hour ago, as she had to go for a costume fitting,’ I replied.

‘Yes, I know that, but how did she manage on the horse?’

‘Well I wouldn’t describe her as a natural horsewoman, but I showed her how to grip the saddle with her thighs. She should be safe enough so long as she can stick to a gentle trot.’

‘What do you think, Joan?’ he asked his assistant.

‘There is the hunt scene where her horse will be required to canter, to keep up with the other riders. We weren’t planning to have any daredevil shots of her leaping over bushes or ditches or anything like that, but she will need to be in shot at the beginning and end of the scene,’ she replied.

‘When does that scene appear in the schedule?’

‘Wednesday or Thursday of next week, if all goes to plan.’

In that case, we might think about looking for a stand-in for those two scenes, but we’ll deduct the additional cost from her fee,’ Frank continued.

‘I’ll try but I’m not sure where I’m going to get a stunt double at such short notice? This is Amy’s first film, so we can’t go to Spotlight and look at the pictures of half a dozen look-alikes for Amy O’Donnell.’

‘Maybe we could re-organise the schedule to give us a few more days before she’s expected to do anything too energetic.’

‘We can delay for one day, if absolutely necessary, but after that it is going to be costly if I have to reschedule the extras. I’ll do my best to find someone, but it isn’t going to be easy. I just wish that they’d raised this issue before now.’

‘That’s young actors for you. You can see that she lacks experience of these matters, but her assistant should have pointed out her commitment to her.’

Frank then turned to me once again. ‘Look Nick, I’ll have a word with your boss, I want you to concentrate on Moonbeam and be available whenever Amy is filming over the next two weeks. There’s a lot of money a stake on this film and we can’t afford to have the whole crew waiting around for Amy O’Donnell.’

‘What about the other horses?’ I asked.

‘I’m hoping that one of your colleagues will be able to look after them. You just concentrate on making sure that Amy is happy and doesn’t fall off her horse.’

‘I’ll do my best, Mr Wilson, Moonbeam is a favourite of mine, and I also found that Amy was nice once you get her on her own.’

Frank smiled at the comparison and the couple were about to leave, when, almost exactly on cue, a very angry looking Amy O’Donnell, re-appeared in the stables followed by Sue Evans, the Costume and Makeup Supervisor. She was looking even more beautiful than before, now dressed in a royal blue silk Victorian riding habit with a matching Porkpie hat, sporting a purple ribbon. The outfit had a voluminous long skirt split at the back, a matching long-sleeved silk jacket and a white lace blouse. Her cheeks were flushed and her lovely long black hair hung down her back. She came straight over to me, ignoring the presence of the director and his assistant.

‘If you’re so clever, Mr Nick Stevens, perhaps you’ll explain to me how I’m expected to ride side saddle whilst having to wear this ridiculous outfit.’

I hesitated, not sure how to answer her.

‘It isn’t a ridiculous outfit; it’s a Victorian ladies’ riding habit. That’s what they wore to go riding in the 1860s, and 1870s’ interposed Sue Evans. ‘It is specially designed to enable the wearer to ride side-saddle.’

‘You hook your legs around the two pommels, as I showed you earlier,’ I said.

‘Alright, you put on the skirt and show me,’ she said beginning to unbutton it.
I looked around unsure what to do.

‘Go on then, take off your trousers and put this on,’ she demanded.

I had no idea whether to obey her instruction.

‘Would you mind giving us a demonstration, please Nick, so we can judge for ourselves?’ asked Frank.

I reluctantly took off my trousers and handed them to Sue and took the offered skirt from Amy, leaving her in a long white petticoat. Fortunately, I had roughly the same height and waist measurements as she did and so had no difficulty putting on the skirt. We both now looked absurd, like one of those children’s picture books where you can turn half the page to create incongruous top and bottom halves. There was a brown warehouse coat hanging on a hook in the stall.

‘Would you like to put this on? I said to her.

Sue took it and handed it to Amy in exchange for the riding jacket and pork-pie hat.

‘Here you’d better put this on as well, whilst you are at it,’ said Sue, handing me the jacket and then helping me to put it on.

I felt very self-conscious, dressed in a Victorian lady’s riding habit, as I led the pony out of her stall and into the yard. I noticed that we’d attracted a few interested glances from other members of the film crew who were working on various wiring and construction jobs nearby. I brought over a mounting block and placed it next Moonbeam.

‘I’m going to need someone to help me up on to the saddle,’ I said.

Frank helped me to mount, whilst Amy held the bridle and calmed the pony. Frank placed my left foot in the single stirrup and I put my right leg over one of the two pommels that would enable me to maintain a firm grip on the saddle. Sue arranged part of the voluminous skirt to cover the saddle and let the remainder of it fall to cover my legs. Amy handed me the reins, and as soon as I was seated securely, I gave a slight tug and Moonbeam began to walk then trot around the stable yard whilst the others looked on. Having completed a couple of circuits, I returned to the little group of spectators.

‘You see, it’s just a question of practice,’ I said to Amy. ‘You can maintain a good grip on the saddle with your legs and it is no more dangerous than riding astride. She’s a lovely pony to ride. Would you like to try?’

‘She may be a lovely pony but I’m still not so sure,’ said Amy.

‘Can somebody help me to dismount now please?’ I asked.

‘No, please stay where you are for the time being,’ said Frank. ‘Would you be able to manage to ride at a canter whilst you’re wearing that skirt?’

‘Not in the yard, but it ought to be easy enough to do so in the field outside,’ I replied.

‘Will you show us, please, Nick?’

Before I started again, Amy handed me the ladies’ pork-pie hat with the ribbon that she had previously been wearing.

‘Here, put this on as well, you’ll look great wearing it,’ she said, with a smile and a wink.

I instructed Moonbeam to ‘walk on’ until we reached the entrance to the yard, followed by a growing group of interested spectators. As soon as we were beyond the farm buildings Moonbeam began to accelerate, first to a trot and then a canter. She seemed willing to go faster still, if I had allowed her to do so. There was no doubt that she was a steady and well-behaved pony who was happy to be ridden side-saddle and I had no difficulty in maintaining my seat.

As soon as we reached the far end of the field, I turned her round and let her accelerate to a full-gallop across the length of the field with my long blue skirt billowing in the wind as we did so. Moonbeam leapt over a small drainage ditch in the middle of the field and the hat went flying but she landed well. It must have appeared quite impressive and the performance elicited some applause and a couple of wolf whistles from members of the crew, who had come to watch, until Frank became aware of the additional onlookers. He asked one to go and retrieve the hat and instructed the remainder to get on with whatever they had been doing.

Eventually, Moonbeam and I returned to the stables and I was at last helped to dismount.

‘Sorry about the hat,’ I said grinning cheekily.

Amy was the first to respond.

‘You can sue me if you like, but there’s no way that I'm going to risk my neck by riding like that,’ she said, addressing Frank.

He didn’t respond to her but rather turned to talk to his assistant and Sue Evans, the Costume and Makeup Supervisor.

‘Sue, is there any way that your people could get this guy to resemble Amy enough for him to be able to stand-in for her during the equestrian scenes?’

 I will endeavour to publish one chapter of about this length each week. I have never worked on a film set or ridden side saddle so if there are any glaring errors please let me know either in the comments or by personal message.
Louise