‘Ibby, I’m talking to someone.’ Rude to her, though he was schmoozing Carrie like she was lady of the Manor.
‘Seriously, it’s a really good idea.’
His eyes went hard, and for a moment I thought he was going to cut her down to size in front of Carrie and me, but instead he said smoothly, ‘Would you excuse us a moment, Mrs Harper?’ I could tell he’d already sussed that Carrie wasn’t going to be as much use to him as she’d like to think, since she only arrived in Avebury ten years ago. Now she’s hanging onto the edge of the conversation, as I explain my Big Idea. I’ve pulled open the curtains to show them. There’s a fine view, across the darkening roadway, of the space where Frannie’s parents’ guesthouse stood.
‘Doesn’t matter which stone. The Second World War interrupted Keiller’s excavations, so nearly half the outer circle hasn’t been touched–there could be twenty or more buried stones in the north-east quadrant alone. The point is to do something that would get press coverage and set people talking about Avebury and Keiller again.’ And secure me a job on this production.
‘India’s family have lived in the village for generations,’ says Ibby. Weird name. Maybe she was conceived on Ibiza. ‘She works with the National Trust.’ In the caf, but they don’t need to know that. Lucky that Michael isn’t here to put them straight. I raise my eyebrows at Carrie in the hope she’ll keep her mouth shut.
‘So you could get us permission to film?’ says White Hair. His name is Daniel Porteus.
‘Well, that would be up to someone higher than me. But I’m sure…’
He doesn’t seem to have noticed that I’m making most of this up as I go along. ‘It’s bloody brilliant. I like it already. Can I get you a glass of wine?’ He shoots a triumphant smile at Ibby. ‘Get us a bottle, lb. Merlot, if they have it. All right for you, um, India? So what exactly is it you do for the Trust?’
‘Sorry,’ Carrie butts in. ‘India, don’t want to interrupt or anything, but I think I saw your gran out the window. She could break a leg, you know, walking round the dykes in the dark.’
There’s still enough light in the sky to outline the small figure making its uneven way along the top of the bank, near a clump of beech trees.
‘Fran!’
She stops, turns and waits, thank goodness. A waxing moon is coming up over the horizon, and as I dash through the stones, there’s a disconcerting glimpse of it, like a tilted D, between Frannie’s bandy elastic-stockinged legs.
The grass is slippery with frost. My ankle goes over with a sickening twist. Daren’t stop, so I go hobbling on, terrified that Frannie will start slithering down the bank into the darkness of the ditch and her ankle will go too, pitching her over and snapping her leg like the dry old twig it is. At her age, broken bones can kill.
‘Stop right there. I’ll come and get you.’ A risky strategy: out of sheer cussedness she might do the exact opposite. Panic’s making me breathless.
She sits down, plonk, on a big tree root curving out of the hard, chalky slope. The wind rattles the bare beeches. A smile cracks her face, as if this is a game. She must know it’s going to be hard to get her up again. She’s not even wearing a coat, for God’s sake. Her feet are in slippers, soaked.
My breath scrapes in my chest from the climb up the bank, and the fear. ‘What are you doing?’ I puff.
Frannie lifts a hand and brushes her fringe off her forehead, a 1940s starlet posing for the camera, the rising moon backlighting her hair and turning it silver. She stares straight ahead over the stone circle, gaze lasering between the pair of massive entrance stones. Something in the inner circle has caught her attention. There’s movement down there, someone in a long dark coat, a bluish light that could be torch or camera-phone. Frannie shakes her head, chewing over some possibility that apparently she regrets having to reject.
Then she says, like she’d heard me thinking the exact same words earlier this evening in the pub: ‘They never comes back, that’s for sure.’
They never comes back and goodness only knows the place they’ve gone to. But sometimes I think they’re out there in the moonlight, and I have to go to see.
Our mam used to say that the two roads that cross in the middle of Avebury–the main Swindon road running north-south, and Green Street that was the old Saxon way going east-west–were like big blood vessels carrying time through the village. Because they was so old now the walls had gone thin, and time sometimes bled out one way or t’other. Mam’d reach out her hand to me in the hospital and I’d see the bruises, the places where her blood leaked out under the skin because, after all the injections, her veins were too wore out to hold it in any more. I see the same bruises on my arms now, old-lady bruises, and I think that’s how time has become for me, now I’m eighty-whatsit. The past leaks into the present, and who’s to say the present doesn’t leak into the past?
If I’d been a bit bolder and let Davey take me into the stones that night, instead of watching what happened in the Manor gardens, would we have come through? There’d’ve been a kiss and a cuddle and a warming of the hands inside his coat. Then, all in good time, maybe our mam would’ve had her way, tinned-salmon sandwiches and banns read out, and two of us beside the old font with the snake carved on it when the vicar dips his fingers to wet the babby’s head.
There’s a photo of Davey in the back of the drawer in the dressing-table, in the box where I keep all me bits and pieces. It was taken later, in the war, after he’d enlisted with the Raff. He’s grinning at the camera with his forage cap at a jaunty angle; somewhere out of view there’ll be a cigarette between his fingers, because he smoked something terrible after he joined up, but they had them for free, or near as, at the NAAFI. Perks of the job. Blowing smoke rings into the face of Death, hoping she’d squint her eyes and not see him. It’s black-and-white, so you can’t see them golden-green eyes of his that never seemed to match right with his thick brown hair. That hair stood up like a lavatory brush if he didn’t cut it every couple of weeks, but after he joined the air force he Brylcreemed it flat, with a little finger-wave at the front, curly as Mam’s marcel. It used to creep forward over his eye when he was hot and bothered. Me wayward tendril, he called it.
He’s grinning at the camera in that photograph, but what I sees now is the hurt in his face. Frannie, he says to me, what did you want to go and do that for?
Yes, I say, but you wasn’t exactly whiter than whatsit, was you? Didn’t understand then, but I reckon you had your secrets too, up on Windmill Hill on that motorbike. How was it you caught Mr Keiller’s eye so he give you a job? But no good asking: he and Mr K never come back, for all I go looking in the moonlight.
Percy Lawes had set up his movie camera on the bit of green opposite the Red Lion when I got off the Swindon bus coming home after my Thursday-afternoon shorthand class. There was a group of kids hanging round him as usual.
‘Back down the high street,’ he was saying to Heather Peak-Garland and her pals. ‘Go on. You were too quick for me last time. I didn’t get you all in the picture.’
They trooped down the road towards the shop.
‘Further.’
Back they went again, almost to the school.
‘Further.’
I left them to it and crossed the road. I had decisions to make, about what I was going to do with my life–didn’t intend spending it all being a skivvy for Mam and Dad–and the best place to think was in among the stones. There was a big old lad fallen on his side that I liked to curl up on when I needed time and space to myself. The Rawlins boys used him as a sliding stone, tobogganing down his polished flank to land with a splash in the puddle at the bottom, then clambering