The Spider Truces Part 26

Strange bunch, Ellis thought to himself.

He took a seat in the corner and tucked a white paper napkin into his s.h.i.+rt. The lady brought him a mug of tea.

"Will Mac be cooking my foody?"

"Who, darling?" she asked.

Ellis looked at her in amazement and then pointed to the neon sign outside.

"Oh!" the lady said. "Mac! Yesss! He's cooking it right now, sweetness ..."

Ellis nodded his approval. There seemed little point going to a cafe called Mac's if Mac wasn't going to cook your breakfast. When his food arrived seeing the baked beans seemed to spark an idea.

"You know what I find not-ly good about the Buddhists?" he called out.

The cafe fell quiet. By the looks on their faces, none of the men there did know what Ellis's objection to the Buddhists was.

"Are they the ones who believe in reincarnation?" he checked. "Well, whoever it is that do, they're just as bad as the rest of everyone else. See, everyone slags off Christians for being all clever about everything and, you know, like you tell them how stupid all their stuff is and doesn't add up to two plus two and they say 'But we've got faith so we know anyway even if no prove' and so there's not a lot you can say to that really. Is there?"

There was no reply.

"Is there?"

Silence reigned. A number of plentifully loaded forks hovered just outside the mouths they were aimed for.

"Like picking a fight with fresh air. Religion. Same with recarnation milk. We believe you borny gain as another shrub and don't remember the last time. Bingo and don't forget the custard! You can't argue with it 'cos you don't remember the before. I was Horatio Nelson and you can't prove I was not. Don't mind the shaved-headed vibe and the robes though. It's all b.o.l.l.o.c.ks. Who's with me?"

This was a tough audience to warm up.

"Anyone else feel the same way?"

He awoke in a tight, windowless box-bedroom, on a narrow bed surrounded by blue-grey walls. In one corner, within reach, was a wash basin and a single towel hanging from a rail beneath it. In the other corner was a small wooden chest painted thick with white gloss. A drawer was missing. On top of the chest was a small red book. The words "Holy Bible" were in gold on the front and side and a purple silk page-marker extended from the bottom of the red gilded page edges. There was a sound of ticking, but Ellis could see no clock. The blue-grey paintwork was so thick and featureless that he couldn't see the join between the walls and the ceiling. A lady entered. She was middle-aged and wearing the same sort of pink and white ap.r.o.n as the lady in Mac's Cafe. She placed a mug of tea beside the Bible and sat on the edge of the bed. Her skin was s.h.i.+ny and there were greasy spots on her cheeks which led to her dimples. She smiled and her top front teeth protruded slightly and rested on her lower lip.

"Do you know the Mockingbird song?" Ellis whispered.

She shook her head and felt his forehead. Her hand was cold and clean and slightly pudgy.

"You're not her, then ..." he muttered.

She did his coat b.u.t.tons up for him as his hands were shaking. As they left the room, Ellis saw a small Tupperware container on the floor catching drips from a radiator.

"Oh!" he said. "It's not a clock."

"It's a radiator," she said.

She navigated Ellis through a maze of faceless corridors to the outside world. He stood in the early evening darkness and came to terms with the fact that the day had pa.s.sed without him. Mac's Cafe flashed in neon in the corner of his eye. He felt disorientated and weak and he couldn't think straight. The lady held on to his elbow until there was a big enough gap in the traffic for Ellis to cross the dual carriageway. He looked back and she disappeared behind the crossfire of lorries.

By the time Chrissie came for him, the snow had gone but the pebbles were still freezing together at night. Ellis spent the morning lying with his face against the s.h.i.+ngle, listening to the distant church bells on Borstal Hill and watching the suns.h.i.+ne thaw the beach. His eyes were as close as they could be, whilst remaining focused, to two small pebbles frozen fast together. He set his heart on seeing the pebbles part in the thaw, on witnessing the exact moment their frozen bond evaporated. But no such drama unfolded and, in time, he realised that a paper-thin gap had appeared between them without his noticing.

Jed walked past, heading into town.

"What are you doing, Ellis O'Rourke?"

"Waiting for two pebbles to part."

"Some might argue you are p.i.s.sing your life away."

"Nonsense! I'm waiting to become a great photographer."

"Will you be rich?"

"Very."

"Then you can buy me a pint at lunchtime. I'll see you in there."

"Talk to my secretary."

As he took his seat in the pub, Ellis thought to himself how similar to his sister the woman on the sea wall looked. He started his burger and chips and had got halfway through his pint when he looked again and realised that the woman on the sea wall was his sister, staring back at him.

"Why?" Chrissie said to him, as he walked towards her.

"What you doing here?" he asked, going to embrace her.

"Why?" she repeated.

Her monotone stopped him dead. "Why what? What's up?"

"Why?" she persisted.

"Why what?" He laughed nervously.

"You must hate me. I can't think of another reason."

"Chrissie, what are you on about? I mean, what's up? Why are you here? Has something happened?"

She pulled a fistful of papers from her coat and held them up for him to see. The writing was childishly erratic and interspersed with little sketches. He let out a faint, involuntary gasp, but nothing specific came to him, just ominous warning signals flas.h.i.+ng around his brain.

"I feel like ... something is familiar, but, no ..."

"I thought so," Chrissie said. "I thought you just might have been so p.i.s.sed you wouldn't remember. It doesn't make it any less s.h.i.+tty on your part, you little w.a.n.ker."

"What?" he implored.

She held up the sheets and read aloud, struggling to navigate the misspelled, unpunctuated mess.

"Dear Bullet Photographic Agency, Letter of Intent from Ellis O'Rorck you've actually spelt your name wrong there First thing I should point out clear is that I am not an Irish. Many make that mistake and yes, with a surname like mine, somewhere way way way back of course, but I am not allowed a Irish pa.s.sport and I have never visited the Emrold Isle or the Emrold Forest, subject of John Boorman's very very very fine recent film which I took the liberty of catching at the Cannon Cinema in Herne Bay which offers admittens which you spelled like kittens for one pound on Monday nights. Secondly, I was concerned at how pale you all looked, a Irish affliction as it goes. You might consider trying beach life. It does wonders and excellents for the skin.

"About the interview, it struck me that ...

"Then," Chrissie said, "there's just a scrawl. Your writing becomes a sort of cardiogram for a page or two."

"My writing?" Ellis protested.

Chrissie ignored him and continued reading.

"We are having a bonfire this night. I'd ask you to photograph Marianne for me but you'd only steal her soul. Pa.s.sion! Pa.s.sion! Pa.s.sion! Do I have a pa.s.sion for photographs, you ask me? Well, yes, but not for photographs which people like you wrote 'processed peas down to 29p' all over, if you get my drift. My O'Rourke's drift! Ha! Never noticed that one before."

Chrissie took a moment to shake her head in disbelief.

"Anyhow, I wish to be considered for the post as ... thingy, you know, the job. I could do some hanging out in London and up my social life huge notches. I am feen and kit I suppose you meant keen and fit alert, stealthy, rarely steal from others and have a talent for taming seals. I know the location of every dried food item in the supermarket and speak fluent barcode.

"Now, some seemingly random facts from modern world history for you just on the off chance I discover that you have employed Mr Townsend, my history teacher from school, to a.s.sess this application form: Irish Free State, 1921. French Revolution, 1989 it was 1789 actually, Ellis. We haven't had 1989 yet Normandy Landings, 1944. First ever episode of Starsky and Hutch 1973. That's it, that's all the dates I can remember.

"In conclusion, photography can be used for the greater good, for exampley, you know that picture of the girl running away in Vietnam and that picture of Gandhi with his legs crossed. I'm making that up but somewhere there just has to be a famous photograph of that man with his legs crossed cos he was forever crossing his legs. Or the photographic art can be abused, like, you know, those photographs of what they call in the p.o.r.n trade sticky c.u.m-wh.o.r.es lap-it-up moments and also photographs of sunsets used to sell people pensions.

"So, my plea to you is to leave the office, get some sea air (trains run from London to this part of the world twice an hour and you can walk at the beach in fifteen minutes if you take Station Road and Cromwell Road and Oxford Street no not that Oxford Street derr-brain! Nelson Road, Island Wall and Edwards Alleyway. Return to your place of work refreshed and inspired to work for the common goody goody two shoes of man. Study human rights legislation in the evenings and you, the bloke on the right as I looked at you, stop wearing those ridiculous blue specs and stop patronising job applicant people, and you, the woman in the centre, return your b.r.e.a.s.t.s to the inside of your clothing where tradition dictates they should be during daylight hours. You are too late for the French revolution my dear there is absolutely no punctuation here whatsoever, Ellis My name is Ellis O'Rourke. I really want this job and I hereby announce my contemplation to be chosen as the astronaut to pilot the Bullet photographic agency crusie s.h.i.+p into the second half of the 1980s. Good evening."

Chrissie fell silent for a moment before erupting into mock animation.

"Ooooh and look Ellis! You've done some ill.u.s.trations to bolster you chances! There's a sketch of your house on the beach, there's the man's spectacles with a bullet hole through them and, look, there's the two ladies from the interview in what I guess is one of those c.u.m-wh.o.r.es lap-it-up moments! And they're in red, which is lovely!"

Ellis remembered some of this now but not much of it.

"It wasn't really me," he pleaded. "It wasn't ..."

He lowered his head and waited for the torrent of self-criticism to engulf him but instead he found himself thinking that some of the letter had really been quite amusing and well written, especially when one considered the state he must have been in when he wrote it. He didn't dare ask how Milek felt about all this.

"I think I need a drink," he said, nodding towards the pub.

"I think that's the last thing you need," she muttered.

He took his pint to a spot where Chrissie wouldn't be able to see him from outside. There, he drank his self-loathing. Trying to piece together the night of the bonfire party was hopeless. He and Jed had both tried that in the previous couple of weeks without success.

The unpalatable thing for him was that he knew that he had written the letter simply because it was just the sort of thing he would do. The letter itself wasn't what bothered him. That was a one-off. He could move forward from this point in time fairly confident of never writing a letter like that again. But the idea of Ellis being so off his face that he wrote a long, detailed letter which he then forgot the existence of, that was pitifully like him these days.

"I'm a bad person," he said to a man nearby.

The man picked up his pint and walked away. "I didn't come here to listen to your whining, you middle-cla.s.s c.u.n.t."

Ellis laughed to himself.

"Did you laugh at me?" the man said.

"No," Ellis said softly. "I did not." He met the man's stare and didn't flinch. The man curled his lip and let it go.

Ellis lit a cigarette. This moment is recoverable, he told himself. I need to apologise and take things from there.

The obstacle to doing this successfully was that Ellis was as intrigued by what he'd done as he was contrite. For a start, he asked himself, what made me think of my old history teacher when I was on acid? He seemed the dullest man but he was probably quite a good bloke in real life. Whatever real life is supposed to mean.

"Would the real real life please step forward?" he whispered to his drink.

He wanted to take a good look at those sketches. He was no artist and yet the glimpse that Chrissie had allowed him, admittedly brief, suggested there was some latent drawing ability there. If Chrissie could recognise the drawing of the two women as being of two women then the likeness can't have been bad, he reasoned.

Chrissie entered the pub and went to a table in the corner. Ellis followed obediently, reminding himself that the first words out of his mouth needed to be an apology, a really good one. Their knees touched momentarily as he sat down opposite her.

"I'm very sorry," he said.

She blanked him. He filled the silence, clumsily and blindly, just to get her talking again.

"Don't you think it's incredible that all those history dates were stored in my head without me knowing?"

She looked at him, incredulous. "Amazing," she muttered, shocked by the brevity of his remorse.

Misreading her response, he leant forward conspiratorially, pressing his knee against hers.

"Yeah, and to be able to draw just because you're off your head. Could I take another peep at those sketches?"

She stared at him, and realising that he was serious, she turned purple in the face.

"WHAT THE f.u.c.k IS WRONG WITH YOU?"

The pub stopped to take a look. Ellis watched his sister march out. He stared at the open doorway, at the daylight hitting the buildings on Island Wall. Then he looked to the bar, where a line of drinkers were still watching him.

"f.u.c.k off the lot of you,' he said, without projecting his voice.

"Keep it to yourself," Kitty snarled from behind the bar.

d.y.k.e, Ellis thought.

He returned to his drink. The day had started so nicely, he reminded himself. But, then, watching pebbles defrost is a fairly safe way to start the day.

One of the problems, he couldn't help feeling, as he attempted some sort of a.n.a.lysis, both out of a sense of duty and just in case his sister stormed back into the pub and asked him what he had to say for himself, was that Ellis didn't "get" adult life, even though he had been flirting with it for nearly a year. He did not appreciate why Chrissie was so angry. He understood why but he didn't appreciate why. Why couldn't this episode be funny, something to be laughed off with a sense of knowing, even loving, despair? OK, he wasn't expecting to be offered the job after this, but why did it all have to matter so much? Why did it matter to Milek that his girlfriend's brother was an immature prat? Why did it matter to the agency that one of their photographers had suggested a guy who turned out to be a fool? And why couldn't Chrissie just find it hilarious? She, Milek, the agency, they were all on the same side; the side where you have a good job, clothes you buy but don't wear and a Sony Walkman ca.s.sette player. It was Ellis who was the loser in all this. Fair enough, Spandau Ballet-man is going to have been offended by the bullet hole in his spectacles. That drawing, admittedly, sent out a negative message. But why was it such a problem for the two women? Their sketch, from what Ellis could glimpse, had been pretty kind to each of them. In fact, he'd taken years off them both.

And here was the problem in a nutsh.e.l.l. Ellis couldn't take adult life seriously even in moments like this when he was thinking to himself, and the internal mechanics of that fact were preventing him from constructing a heartfelt apology for his sister. Unlike most eighteen year olds, Ellis was not finding life away from the confines of home, with all its freedoms and pleasures, amazingly satisfying. He was already getting a bit bored by it all and he'd hardly dipped his toe in. Some eighteen year olds would love to be living his life. Des Paine would swap places with him. Tim Wickham might, too. And, yes, Ellis loved living by the sea and he loved going to work rather than school. And he liked the feeling of being tired and stopping for a break and drinking a hot cup of tea and smoking a cigarette. But how many more times was he going to do that in his life and still find it wonderful? And that's why the job at the photographic agency would have been good, he reminded himself. Because it would have moved him on and been a new challenge and it would have opened up his life to new people and places. It would have been a step up, a marker of growing maturity. At that precise juncture in Ellis's life, not drawing a cartoon of his potential bosses shoving d.i.l.d.os into each other would have been the sensible course of action.

Jed saw Ellis up ahead on the beach, sitting against a breakwater. For Ellis, recovering from an hour of intense reflection in which he arrived at a degree of self-realisation was a radical departure from cohabiting with whatever random visual ideas entered his head, and the experience had left him mentally exhausted. In an effort to freshen himself up, he rolled over and attempted a headstand and made a pretty good fist of it.

"Good afternoon, my most peculiar friend," Jed said as he crunched his way across the pebbles.

"h.e.l.lo there," Ellis replied, in a squashed upside-down voice.

"Weird but kind of impressive, that," Jed said, inspecting the headstand.

"Hurts my head," Ellis moaned, the words squeezed out of his brain as his face turned red. He collapsed on to the pebbles. "How was Ben?"

"Fine," Jed said. "Slaughtered him at snooker."

"Some would argue you should let your six-year-old brother beat you at snooker," Ellis said, brus.h.i.+ng himself down.