Three Button Trick and Other Stories (24 page)

‘Know what I mean? All those brothers. She wants to be like a man. All straight and neat and everything clear in her head. Silly bitch.' He licked his lips before adding, ‘Ripe for the plucking.'

Davy noticed that Leonard's fringe, originally white, had been stained a sickly yellow from nicotine. Also a small runnel on his upper and lower lips, on the right hand side of his mouth where he characteristically held his cigarette. This man, he thought, is a bloody animal.

Jodi was still leaning against the counter. She was memorizing several of the moves in the Short/Timman match. Originally she had believed that chess was a game that invited skill, wit, spontaneity. But now she knew that the only way to contend at a serious level was to learn, to revise, to memorize, to plan and to structure. Prepare as if for war.

Jodi had three brothers. Her parents were Romanian. All had played chess from a very young age. Her father was an exceptional player. None of the other brothers had ever beaten him. Only she, Jodi, had managed this once, aged thirteen. It had been the best and the worst day of her life.

Her father had said, ‘Do you know how you beat me, Jodi?'

‘How?' She smiled up at him, exultant.

‘Puberty. You have turned into a woman under my very nose but I didn't notice. When you moved your knight and left your Queen unprotected I thought: she's lost it, she's not concentrating. I let my guard down. I didn't see the move for what it was: sensuous, ridiculous, gregarious. Very, very feminine.'

Jodi had stared at him, unsure how to react. She thought, is this good or is this bad? She still asked herself this question:
Good or bad
?.

Leonard nudged Davy in the ribs with his elbow. ‘Once I listened about how she went to a pub to play chess with this famous English champion. Crazy man, long hair, glasses. I forget his name. Anyway, all the tables in the pub had boards. He played five games all at once, ten games, just walking between tables. She played four moves … one, two, three … and he beats her. Just like that. Easy!'

‘So what happened?'

Leonard laughed and shook his head. ‘She says, “I'll learn every move it's possible to make. I'll read every book. I'll see a whole game in my head before it's even played.” Now she says she can play a game without even looking at the board.'

Davy felt suddenly ashamed. I asked her out, he thought, and I didn't know any of this. Imagine, all these things going on in her head and I couldn't even have guessed at them. He stepped away from Leonard and moved back towards the doorway of the café. He saw Jodi through the glass in the door. He felt a sudden, incredible, horrifying desire to consume her entirely, to take her and to make all those strange, abstract, alien parts of herself his own. He wanted to drink her down in one, like she was the liquid in a can of fizzy drink that could quench his thirst and bite into the back of his throat all in a single, thorough, rushing gulpful.

Jodi sensed a figure hovering around just outside the café, near the door, a blur beyond the edge of her paper. She had ten moves worked out in her head, one after the other. She
had
to keep them in. Order. Symmetry. Design.

Her own private moves were there, too, in the back of her mind.

I will never dance with a man.

I will never make love.

I will never marry.

I will never bear children.

She sighed as she put down her paper and glanced up towards the figure in the doorway. She sighed but she felt not the slightest twinge of regret.

And then she noticed that it was Davy standing in the doorway. Davy? Was that his name? And then she noticed that he had bright green eyes. It was her move.

B
ELINDA WAS WELL ACQUAINTED
with the fact that the tortoise was a protected species, but this information could hardly be expected to improve her opinion of these silent, shelled, sly,
old
creatures.

She had joined the circus at eighteen, when she was awarded an E grade in her history A Level and an F in physics. Six years ago. Now she travelled the length and breadth of the continent, performing her gymnastic feats. She could start off doing a back-bend and end up with her head sticking out from between her own thighs. People at the circus called her Bendy-Linda, and the single question that she was asked more than any other was:
What is it like to perform cunnilingus on yourself?
To which she would usually reply, ‘Depends how long it's been since I had a bath.'

Bendy-Linda also had chief responsibility for the performing parrot troupe: seven parrots which she dressed anthropomorphically and had taught to don and doff hats, hold up miniature papers, kiss each other—birdy, beaky kisses—and dance in time to specified tunes. They also talked. They said, ‘Hello there,' ‘Milk and no sugar,' ‘May I have the pleasure?' and ‘Great weather we're having.' She believed that these few sentences and phrases offered the key to a perfect life. A parrot Utopia.

Belinda's main problem with the birds was to keep circus people, and others, from using inappropriate language in front of them. One bird had learned how to say ‘Bloody Hell' and had been forcibly retired from the troupe as a consequence. Swearwords were like fireworks: much brighter and louder and sparklier than other language. Both children and parrots—those tiny sensualists—were irresistibly drawn to them, couldn't wait to wrap their tongues around them.

There were nine acrobats and tumblers at the circus, all told.

‘The turnover of staff in this field has always been rapid.' This was Alberto, circus ring master and manager.

Belinda stared at him, unsmiling. ‘I suppose that goes with the territory.'

Alberto nodded, not truly comprehending.
Turnover,
Belinda felt like saying, it's a joke.

Alberto was introducing her to a new tumbler. He was tall, thickset, blond; physically unlike your average acrobat. Alberto said, ‘This is Marcus. He's French.'

‘Hi.' Belinda offered him her hand. He took it and squeezed it gratefully, but said nothing, only smiled. Belinda smiled back and said, ‘We usually all go out for a meal when a new acrobat joins. Pizza or something. It's a tradition. Are you keen?'

He nodded eagerly.

‘OK, I'll arrange it.'

The following evening, a large group of them were filling out a significant portion of a local brasserie. Belinda sat to Marcus's left. On her left was Lenny, who in her opinion was a workaholic and a bore. He was analysing one of their routines. ‘The first set of tumbles,' he said, his tone rigorous, ‘come from nowhere. It's like the floor exercises in a gymnastic competition, lacking a certain fluidity, a certain finesse. I mean, there are no hard and fast rules in this business.'

Belinda looked at him, her blue eyes sombre and unblinking.

‘Anyway, the tempo's all wrong.'

Choosing her moment carefully she said, ‘Lenny, let's not talk about work all night, OK?' She turned and took a glass from a tray that was being proffered by a waiter. ‘Pernod. Excellent.'

She focused on Marcus. ‘How've your first couple of days been? I haven't seen you around much, apart from at practice and the show.' She had seen him at practice in his slinky French lycra garments. At least a foot taller than any of the other men, but gratifyingly agile.

Marcus took so long to respond to her enquiry that she almost came to the conclusion that he spoke no English at all. But eventually he said, ‘It was … all fine.' He spoke slowly and laboriously. The effort of it brought tiny specks of perspiration to his upper lip. Belinda stared at him, wide-eyed. He's drunk, she thought, and it isn't even an hour since the matinée.

The waiter moved over to Marcus and offered him the tray. Marcus selected a bottle of beer, glad of this distraction, and drank down a hurried swig of it. Belinda said coolly, ‘You're unusually tall for a tumbler.'

He nodded. ‘Yes … I am.' After an inordinately long pause he added, ‘Five foot … nine.'

He seemed to be relishing his words and observations with a drunk man's delight. Belinda had been tipsy herself on several occasions and was well acquainted with the feeling of intense gratification that the performance of everyday feats accorded one while in this condition. The brain works so slowly, she thought, that opening a door or saying hello are transformed into tasks of terrible complexity.

Marcus put his beer down next to his plate and started to say something else, but before he could complete his sentence, she had turned away, towards Lenny, and had begun to discuss the rudiments of their early tumbling routine with him in some detail.

Later that night, when Belinda attempted to enter her trailer, the door wouldn't slide back smoothly, but jammed when it was half open. She stopped herself from saying anything worse than ‘Darn!' adding, ‘Needle and thread,' for good measure. (The parrots were tucked up next door, covered for the night but ever vigilant.) She then groped around blindly in the doorway until her hand located a tortoise shell. You little swine! she thought, tucking the tortoise under her arm and reaching inside her pocket for a lighter to ignite one of the lamps.

Once the lamp was lit she kicked the door shut behind her. The tortoise was still under her arm, tucked snugly there, held dispassionately, like a newspaper or a clutch bag. His head and feet were completely drawn in.

This creature had once belonged to her grandmother and was called Smedley. Belinda dumped him down on to the floor again. He scuttled away instantly.

When Belinda had taken possession of Smedley, two years ago, she had been misguidedly under the impression that tortoises were no trouble. They hibernate, she was told. They're one of those creatures that don't need any attention. She couldn't reconcile this description with her own particular specimen. He certainly didn't seem to bother hibernating. In fact he appeared to have difficulty in sleeping at all. Most of his time was spent powering around inside her van, his head fully out, stretching on scaly elephant's skin, his feet working ten to the dozen. He took no interest in things, only walked into them or over them. Even his food.

Belinda's grandmother had owned Smedley for thirty-five years. He had lived in her garden during this time, as happy as Larry. Belinda had been given him, in accordance with the will, and a small financial sum concomitant in quantity with thirty-five more years of carrots and greens. Interest linked.

Twenty-four and thirty-five. She calculated these two numbers every time she caught a glimpse of the tortoise, scuttling from the kitchenette to her bedroom, emerging from under her sofabed. Fifty-nine. I'll be fifty-nine years old, she thought desperately, when that bloody creature finally kicks the bucket. It was as if the tortoise had already stolen those years from her. I'll be sixty, she thought, I'll be retired. I won't even have the parrots any more. I won't be able to do back-flips or walk on my hands. Smedley had taken these things from her, had aged her prematurely, had, inexplicably, made her small trailer smell of Steradent and mothballs.

It had been ten thirty when she'd returned. At ten forty someone knocked at her door. She pushed her slippers on, pulled her dressing gown tightly around her and yanked the door open. It was Marcus.

‘What do you want?'

She stared into his face, slightly taller than him now, standing, as she was, on her top step. He said nothing, only handed her a note.

‘What?' she asked again, taking it.

He bowed, low and formal, then walked off.

Belinda sat down on the top step and unfolded the note. It was written on onion paper. She always found onion paper quite peculiar. So light, so oniony. Very French.

The note said:

Good evening Belinda,

Eugenie told me that you thought I was drunk at dinner. Alas, no. I suffer from a speech impediment, a stammer, which in times of social tension can become terribly pronounced. I apologize if this minor problem irritated you in any way. I can assure you that it irritates me in many ways, but, as they say, such is life. N'est-ce pas?

Marcus

Although the tone of Marcus's note, the night of the dinner out, had been anything but hostile, Belinda spent the following five days trying and failing to apologize to him and to worm her way back into his affections. She found it extremely difficult to talk things over with a person who was virtually monosyllabic.

Because Marcus spoke so very little, he gave the appearance of listening much harder than your average person. Did he listen? Belinda couldn't decide. It felt like he did. She noticed how he became a kind of father confessor to all the tumblers, the acrobats, some of the clowns, the most beautiful tightrope walkers. He didn't strike her as particularly French. His accent—the rare smatterings that she heard—didn't sound especially Gallic.

In fact, both of Marcus's parents were English. They were a couple who had taken advantage of the Eighties property slump in France and had emigrated when he was eight. He was now eighteen. His stammer in French was much less pronounced than in English, which struck him as rather strange.

One thing his stammer had taught him, however, was never to waste words. In general he tried only to say things that were incisive and pertinent. He preferred to avoid chit-chat. When others spoke to him, he slashed out gratuitous noises and phrases in his mind, analysed what they said, not with the gentle, non-judgemental sense of a confessor, but with the practised, cool, steady calm of a surgeon. For instance:

Larry says: ‘Marcus, tell me straight off if you think I'm out of line here, but I bet you'll find that the double back-flip after the hand-walking stuff isn't strictly necessary. I mean, it's great and everything but just a little distracting.'

Marcus hears: ‘Don't upstage me, new boy'

Eugenie says: ‘Wow! Those lycra things are fantastic. They look so comfy. They really do. I just love blue. I love that shade. It's my favourite colour. Are they durable? I suppose they must be French. The French are
so
stylish.'