The Bridge Page 9

  Oh-oh, my doctor believes in metaphors.

  ' - then all you've been doing for the last few sessions is taking me on a guided tour of the curtain wall. Now, I'm not saying you're deliberately trying to deceive me; I feel sure you want to help yourself as much as I want to help you, and you probably think we're really heading inwards, towards the keep, but... I'm an old hand at this, John, and I can see when I'm not getting anywhere.

  'Oh.' I can't take much more of this castle comparison. 'So what now? I'm sorry if I haven't - '

  'Oh. no apologies needed, John,' Dr Joyce assures me. 'But I do think a new technique is required here.'

  'What new technique?'

  'Hypnosis,' Dr Joyce says avuncularly, smiling. 'It's the only way through the next line of walls, or to the keep, perhaps.' He sees my frown. 'It wouldn't be difficult; I think you would make a good subject.'

  'Really?' I stall. 'Well ...'

  'It may well be the only way forward,' he nods. The only way forward? I thought we were trying to go backwards.

  'You're sure?' I need to think about this. How much does Dr Joyce want? How much of me does he want?

  'Quite sure,' the doctor says. 'Perfectly certain.' Such emphasis!

  I fiddle with my wrist band. I'm going to have to ask for time to think.

  'But perhaps you'd like to think about it,' Dr Joyce says. I show no relief. 'Besides,' he adds, looking at his pocket watch, 'I have a meeting in half an hour, and I'd like to schedule you on an open-ended basis, so perhaps now isn't the most convenient time.' He starts to pack up, putting the notepad on his desk, checking his little silver pencil is safely in the scabbard of his breast pocket. He takes off his glasses, blows on them, polishes them with his handkerchief. 'You have,' he says, 'exceptionally vivid and ... coherent dreams. Remarkable fecundity of mind.'

  Now, do his eyes twinkle, or glitter? 'That's almost too kind of you, doctor,' I say.

  Dr Joyce takes a moment or two to ingest this, but then he smiles. I take my leave, agreeing with the good doctor that the fog is a nuisance. I run the gauntlet of proffered tea and coffee, inane remarks and unutterably good grooming in his outer office without any psychological ill-effects.

  As I leave, Mr Berkeley is led in by his policeman. Mr Berkeley's breath smells of mothballs. I can only assume he thinks he is a chest of drawers.

  I walk along the Keithing Road, through the swirling cloud which has submerged us. The thoroughfares become tunnels in the mist; the lights of shops and cafes cast a fuzzy glow over people who emerge from the mists like dimly seen ghosts.

  Beneath me are the sounds of the trains; every now and again a thick rolling cloud of their smoke bursts up from the train deck, like a clot of fog. The trains howl like lost souls, long anguished wails the mind cannot help but interpret in its own terms; perhaps the whistles were designed like that, to strike an animal chord. From the unseen river, hundreds of feet below, foghorns boom in still longer and lower choruses of baleful warning, as if every place they sound from had already been the site of a terrible shipwreck, and the horns placed there to mourn long-drowned sailors.

  A rickshaw comes furiously out of the fog, announced in advance by the squeaking horns in the boy's heel-pumps; a match girl steps out of the way as it charges past; I turn and watch, seeing a white face framed by dark hair inside the wicker and cloth-dark depths of the contraption. It speeds past (I'd swear the occupant returned my gaze) a dim red light glowing fuzzily through the fog from its rear. There is a shout, then from ahead - as the faint light hazes over, disappears - the sound of squeaking heel-horns decelerating, stopping. I walk on, and catch the stationary rickshaw up. That white face, seemingly glowing through the mist, looks round the side of the device's canopy.

  'Mr Or!'

  'Miss Arrol.'

  'What a surprise. I seem to be going in your direction.'

  'Precipitously.' I stand by the side of the two-wheeled vehicle; the boy between the handles looks on, panting, his sweat glowing in the diffused light of a streetlamp. Abberlaine Arrol looks flushed, her white face almost rosy from close up. I am oddly delighted to see that those distinctive crinkles under her eyes are there yet; they may be permanent (or she may have spent another late night carousing). Perhaps she is just heading home now ... but no; people have a morning look and feel, and an evening one, and Chief Engineer Arrol's daughter positively exudes freshness just now.

  'Can I give you a lift?'

  'Your very appearance has already done so.' I execute a curtailed version of one of her exaggerated bows. She laughs, deep in her throat, where usually men laugh. The rickshaw-boy is watching us with an expression of annoyance. He takes his abacus from his waist and starts to click it with noisy ostentation.

  'You are gallant, Mr Orr,' Miss Arrol says, nodding. 'My offer stands. But would you prefer to sit?'

  I am disarmed. 'Delighted.' I step into the light vehicle; Miss Arrol, clad in boots, culottes and a dark, heavy jacket, shifts over in the seat, making room. The rickshaw-boy makes a loud 'tut' sound, and starts talking and gesticulating excitedly. Abberlaine Arrol answers in the same voluble tongue, with hand gestures. The boy puts the handles down with another loud 'tut' and marches into a cafe across the wooden-decked road.

  'He's gone to get another boy,' Miss Arrol explains. 'It's worth the extra to maintain speed.'

  'Is that entirely safe in this fog?' I can feel a half-seat worth of warmth seeping through my coat from the small padded bench beneath me.

  Abberlaine Arrol snorts, 'Of course not.' Her eyes - more green than grey in this light - narrow, the slim mouth twists at one side. 'That's half the fun.'

  The boy comes back with another, they take a handle each, and with a jerk, we are borne off into the mist.

  'A constitutional, Mr Orr?'

  'No, I'm returning from a visit to my doctor.'

  'How are you progressing?'

  'Fitfully. My doctor now wants to hypnotise me. I am beginning to question the utility of my treatment, if it can be called that.'

  Miss Arrol is watching my lips as I speak, an endearing but oddly unsettling experience. She smiles broadly now and looks ahead, where the two running boys labour, tearing through the light-hazed fog, scattering people to either side. 'You must have faith, Mr Orr,' Miss Arrol says.

  'Hmm,' I say, as I too watch our breakneck progress through the grey cloud for a moment. 'I think I might be more inclined to make my own investigations.'

  'Your own, Mr Orr?'

  'Yes. I don't suppose you've ever heard of the Third City Records and Historical Materials Library, have you?'

  She shakes her head. 'No, sorry.'

  The rickshaw-boys shout; we swerve round an old man m the middle of the road, missing him by less than a foot. I am pressed against Miss Arrol as the rickshaw heels over, then steadies.

  'Most people don't seem to have heard of it, and those who have, can't find it. '

  Miss Arrol shrugs, staring through narrowed eyes into the fog. 'These things happen,' she says, matter-of-factly. She glances back at me. 'Is that the limit of your investigations, Mr Orr?'

  'No, I'd like to know more about the Kingdom and the City, about what lies beyond the bridge -' I watch her face for some reaction, but she seems to be concentrating on the fog and the road ahead. I continue, '- but that would probably require me to travel, and I'm rather restricted in that respect.'

  She turns to me, brows raised. 'Well,' she says, 'I've done a bit of travelling. Perhaps - '

  'Gangway!' our original rickshaw-boy shrieks; Miss Arrol and I glance forward together to see a sedan chair directly in front of us, parked right across the wooden deck of the narrow street. Two men are holding one of its broken poles; they throw themselves to one side as our two boys try to brake, bracing their heels, but we're too close: the boys swerve and we start to tip. Miss Arrol throws one arm across my chest - I am staring stupidly ahead - as our rickshaw skids and judders, creaking and squealing, into the side of the sedan chair. She is
thrown against me; the side of the rickshaw roof comes up and slaps me on the head. Something incandesces in the fog for a second, then goes out.

  'Mr Orr, Mr Orr? Mr Orr?'

  I open my eyes. I am lying on the ground. It is very grey and strange, and people are crowded around me, looking at me. A young woman with crumpled eyes and long dark hair stands beside me.

  'Mr Orr.'

  I hear the sound of aircraft engines. I hear the swelling drone of those planes as they fly through the seaward fog. I lie and listen, wondering (frustrated, unable to tell) which direction they are flying in (it seems important).

  'Mr Orr?'

  The noise of their engines fades. I wait for the darkly drifting smudges of their pointless signals to appear out of the faintly moving fog.

  'Mr Orr?'

  'Yes?' I feel dizzy, and my ears are making their own noise, like a waterfall.

  It's foggy, lights blaze like smudged crayon marks on a grey page. A shattered sedan chair and broken rickshaw lie in the middle of the road; two boys and a couple of men are arguing. The young woman kneeling beside me is quite beautiful, but her nose is bleeding; red drops gather under it, and I can see where she has already wiped some of the blood away, making a red smear on her left cheek. A warm glow, like a warm red light inside the fog, fills me from inside when I realise that I know this young woman.

  'Oh Mr Orr, I'm sorry, are you all right?' She sniffs, wipes more blood from her nose; her eyes glisten in the diffused light, but I think not with tears. She is called Abberlaine Arrol; I remember now. I thought there were other people crowded around me, but there are none, just her. People appear out of the mist, to stare at the crashed vehicles.

  'I'm fine, perfectly fine,' I say, and sit up.

  'Are you sure?' Miss Arrol squats on her haunches at my side. I nod, feeling my head; one temple is a little tender, but there is no blood.

  'Quite sure,' I say. In fact everything is a little distant, but I don't feel faint. I still have the presence of mind to reach into my pocket and offer Miss Arrol my handkerchief. She takes it and dabs at her nose.

  'Thank you, Mr Orr.' She holds the white cloth to her nose. The rickshaw-boys and sedan chair carriers are shouting and cursing at each other. More people appear. I get shakily to my feet, supported by the girl.

  'Really, I'm all right,' I say. The roaring in my ears resumes for a while, then gradually fades.

  We walk over to the wreckage. She looks at me, talking through the handkerchief. 'I don't suppose that knock to your head brought your memory back? ' She sounds as though she has a cold. Her eyes look mischievous. I shake my head carefully as Miss Arrol looks inside the cover of the rickshaw, then brings out a thin leather briefcase and dusts it down.

  'No,' I say, after some thought (I should not have been in the least surprised to find I had forgotten even more). 'How about you? Are you all right? Your nose -'

  'It bleeds easily,' she shakes her head. 'Not broken. Otherwise, only a few bruises.' She coughs and seems to start to double up, and I realise again that she is actually laughing. She shakes her head violently. 'I'm sorry, Mr Orr, this is all my fault. A mania for speed.' She holds her leather briefcase. 'My father needs these drawings in the next section and it seemed like a good excuse; a train would probably have been faster, but... Look, I really must be getting along. If you're quite sure you're all right, I'll take an elevator and a train from here. You'd better sit down. There's a bar over there. I'll buy you a coffee.'

  I protest, but I am vulnerable just now. I am escorted to the bar. Miss Arrol argues vociferously outside with the two men and the rickshaw-boys for a minute or so, then turns as another rickshaw comes squeaking out of the mist behind her. She runs to the boy, talks quickly, then comes back to the bar, where I am sipping my coffee.

  'Never mind, got another cab,' she tells me breathlessly. 'Must be off.' She takes the blood-stained handkerchief away from her nose, looks at it, sniffs experimentally, then stuffs the handkerchief into a deep pocket in her culottes. 'I'll return it,' she says. 'You sure you're all right?

  'Yes.'

  'Well, goodbye, Sorry again. Take care.' She backs off, waves, then walks quickly outside, snapping her fingers at the rickshaw-boy; a final wave, then she is away, racing off into the fog.

  The barman comes to fill up my coffee cup again. 'These youngsters,' he says, smiling and shaking his head. It would appear I have been declared an honorary senior citizen (looking in the mirror at the far side of the bar, I can understand why). I am about to reply when from outside the bar the manic beeping of a rickshaw-boy's heels makes us both turn to the window. Miss Arrol's newly hired vehicle reappears, skids and turns round, just outside the open door of the bar. She sticks her head round the edge, 'Mr Orr,' she calls. I wave. Her new rickshaw-boy already looks annoyed. The two previous ones, and the sedan carriers, look slightly incredulous. 'My travels; I'll be in touch, all right?'

  I nod. She seems satisfied, ducks back in and snaps her fingers. The cab leaps offence more. The barman and I look at each other.

  'God must have sneezed when he blew life into that one,' he says. I nod and sip my coffee, not wishing to talk. He goes to wash some glasses

  I study the pale face in the mirror opposite, above serried glasses, beneath poised bottles. Shall I be hypnotised? I think I am already.

  I stay a little longer, recovering. The sedan chair and rickshaw are man-handled away. The fog, if anything, becomes thicker. I leave the bar and take elevator, train and elevator home. There is a package waiting for me there.

  Engineer Bouch has returned my hat, along with a note full of assorted apologies as profuse as they are both unoriginal and ungrammatical; he has spelt my name 'Or'.

  The hat has been expertly cleaned and restored; it smells fresher and looks newer than when I brought it out of the wardrobe to take to Dissy Pitton's. I take it outside and throw it from the balcony; it vanishes into the grey mist on a falling curve, silent and swift, as though on some grand important mission to the invisible grey waters below.

  Triassic

  I don't have to be here you know I could be any damn place I want to.

  Here in my mind in my brain in my skull (and that all seems so ob-)

  no (no because 'It all seems so obvious now' is a cliche, and I have an in-built, ingrained, indignant dislike of clichés (and cliques, and clicks). Aktcherly, the bit about clicks was stretching a point (mathematically nonsense because if you stretch a point you get a line, in which case it isn't a goddam point any more, is it?) I mean what is the bloody point? Where was I? (Damn these lights, and tubes, and being turned over, and getting jabbed; chap can lose his concentration, dontcherno.

  Respool, rewind; back to the beginning it was the

  mind/brain identity problem. Ah HA! No problem (phew, glad that's settled) no problem of course they're exactly the same and totally different; I mean if yer mind isnae in yer fukin skul wharethefuk is it, eh? Or are you one of these religious idiots?

  (Quietly:) No, sir.

  Certainly jolly-well not, sir. See this fox hole?

  The bit about stretching a point was 100 per cent valid and to the point and I'm fucking proud of it. I'm sorry I swear so much but I'm under a lot of pressure at the moment (me am di jam in di sandwich/me am di sand in di jamwich). I'm not a well man, you know. I can prove it; just let me rewind here ...

  Rushed to hospital; lights overhead. Big white shining lights in sky; emergency operation; situation critical bla bla bla (fuck that pal, I was always critical), condition stable (fairynuf, it wiz only recently it all started to get to me), comfortable (no I am not bloody comfortable; would you be?). Fast forward again dot dot dot.

  - hek gang, look, you don't want to listen to my problems (and I certainly don't want to listen to yours) so howsa bout I intraduce my fren here; old pala mine, fren frum waybak, wontchya ta giv him

  Ghost capital -

  steady boy. Like I was saying, me and this guy go waybak, an I wantcher to give h
im a real

  Ghosts capital. Real city of -

  OK OK on ye go fur fuksake

  ... basturt.

  Ghost capital. Real city of varied stones, the great grey place of wynds and winds, old, new and festive by turns, between the river and the hills with its own stone stump, that frozen flow, that fractured plug of ancient matter which fascinated him.

  He came to stay in Sciennes Road, just liking the name, not knowing the place. It was handy, both for the university and the Institute, and if he pressed his face against the window of his cold, high-ceilinged room, he could just see the edge of the Crags, grey-brown corrugations above the slate roofs and smoke of the city.

  He would never forget the feeling of that first year, the sense of freedom just being on his own gave him. He had his own room for the first time, his own money to spend as he wanted, his own food to buy arid places to go and decisions to make; it was glorious, sublime.

  His home was in the west of the country, in the industrial heartland which was already failing, silting up with cheap fat, starved of energy, clogging and clotting and thickening and threatened. There he had lived, mum and dad and brothers and sisters and him, in a pebble-dashed house on an estate beneath the low hills, just within sight of the sihoke and steam-bannered chimneys above the railway workshops where his father worked.

  His father kept pigeons in a loft on some waste ground. There were a dozern or more lofts on the piece of wasteland, all tall and misshapen and unplanned and made of corrugated iron painted matt black. In the summers, when he went there to help his father or to look at the softly cooing birds, the loft was very hot and its befeathered, dropping-spattered spaces seemed like a dark, rich-scented other world.

  He did well at school, though of course they said he could do better. He came top in History, because he chose to; that was enough. He'd shift up a gear if and when he had to. Meanwhile he played and read and drew and watched television.