Frankie Styne & the Silver Man

Copyright © Kathy Page, 2015

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First Edition

Library and Archives Canada Cataloguing in Publication

Page, Kathy, 1958-, author

Frankie Styne and the silver man / Kathy Page.

Originally published: London : Meuthen, ©1992.

ISBN 978-1-77196-038-0 (paperback)

I. Title.

PR6066.A325F73 2015 823'.914 C2015-903740-9

Edited by John Metcalf

Copy-edited by Allana Amlin

Typeset by Chris Andrechek

Cover designed by Kate Hargreaves

Published with the generous assistance of the Canada Council for the Arts and the Ontario Arts Council. Biblioasis also acknowledges the support of the Government of Canada through the Canada Book Fund and the Government of Ontario through the Ontario Book Publishing Tax Credit.

Life without tv

L
i
z was waiting. She sat in her bed upstairs at the back of 127 Onley Street, leaning against the party wall with the covers drawn up to her waist, her head slightly upturned, her eyes open and unblinking in the dark. The argument next door always seemed to begin in the same way, about now, with a woman's voice, low: ‘Tom . . .'

She'd seen them from the window: Tom, tall, his face all jaw, was close shaven, with a tight helmet of black hair. In her mind's eye Liz could see him sleeping with his face crushed determinedly into the pillow, his hands to either side of his head, almost covering his ears.

‘Tom—please—'

The woman was called Alice. Her voice rose a step each time she spoke. Liz guessed that Alice too had been awake for the past hour, lying in the dark with her eyes open. As the minutes ticked wakefully by, the wardrobe, the kidney-shaped dressing table with its padded stool and the billowing shadows of the curtains would have come gradually clear, then painfully, unbearably sharp.

Liz didn't have curtains. Onley Street was a good two hundred miles from her last official home, the Black Swan, though in three and a half years she had been much farther from it than that. She had been to Stonehenge, to Brighton, to Wales and almost to Scotland. She had travelled for free in lorry cabs and the backs of vans, helmetless on the pillions of motorbikes, bolted in the toilets of InterCity trains—but mostly she had walked. She had lived in many derelict houses and several tents and once each in a cave and a railway carriage. She had wanted to go abroad, but that hadn't worked out. Circumstances had brought her here, to what people called a proper—a permanent—home. It was almost a week since she'd moved in.

She had grown up. She had dyed her mousy hair purplish red with henna powder. She had pierced her ears with a red-hot needle and a cork. She had had a baby, Jim, now sleeping beside her in the bed. His name had slipped out when they asked her in the hospital, and in the space of a few hours it had been written in waterproof ink on an armband fastened around his wrist and probably typed on half a dozen forms as well. She didn't use it when they were alone. She just called him ‘you', and thought of him that way too.

127 was a terraced house. The walls were thin. It was one among many of the same, spreading across town, across Britain, side to side and back to back; one huge dwelling under a long narrow roof. The party walls, the variation of numbers and a little decoration above the window arches marked one unit from the next. In the dark, the carefully different colours of the painted doors didn't show. Even so, Liz's house stood out: no curtains and no car outside; inside, no fridge, sofa, vacuum cleaner, washing machine, no telephone, not so much as a single dining chair, and, despite the aerial on the roof, no television set. The house stood blind and disconnected, but sound travelled easily through its walls.

‘Tom! Wake up!' Alice was tiny and smart. If someone had made her portrait it would have had to be from fine clay, kept moist and painstakingly smooth, carefully teased to show how a thousand angles can be softly graduated into curves. Making Alice's likeness would have been hard work, the artist bending close to move from detail to detail—compelled
to reproduce as exactly as possible in the attempt to under­stand; never satisfied, losing sight of the whole, developing eyestrain and crickneck, having to take rests—just as Alice herself did when she bent and peered, removing hairs with tweezers, rubbing in oil, filing her nails, pressing at the pores around her nose and in the crease of her chin, faithfully rubbing in cream every night before she slept.

Liz was very different. She had a long straight back; she had wide shoulders, hips and thighs. Seen from the side she was narrow, but from the front everything about her was broad: the planes of her face, the span of her hands and feet, the stretch of her mouth. She could have been painted with a thick brush in two or three colours in oil paint or acrylic. Just two reddish strokes for the hair, parted in the centre—no highlights, no shine—the rest in cream. Bold. Few shadows. A flat, wide body, strong, and, but for the now swollen breasts, inherently stark and rather unapproachable. It could do anything—or it could just sit there, doing nothing much. Physically, at least, she took after her father, who must have taken after his—the one who widowed Grammy, who had tended to fat herself.

‘Tom!
Please . . .' Even through plaster and brick, Alice's
voice caught at the nerves in Liz's neck. Of course, Liz would have heard less if she'd moved her bed to the other side, or even to the other bedroom at the front. But the nights were long. Listening was something to do—waiting, along with Alice, for Tom to wake, raise his head an inch or so and say, bewildered,
‘Ally?'

Beside Liz in bed, Jim stirred and drew the sudden breath that preceded a cry. ‘Sssh . . . Sssh,' she said as she reached for him, lifted her T-shirt, then settled back against the wall. The voices from next door were very clear—very likely they could hear her too, if they had a mind to.

‘No, Ally, not now,' said Tom, as if he were busy and talking to a child who wanted to play. ‘It's after midnight.'

‘I don't believe you've really made your mind up.'

‘I have.'

‘You've seen her. You saw her today.'

‘No, I didn't. I've told you. Please, can we go to sleep?' Then a light switch sounded, close, almost as if it were fixed inside Liz's ear, and Tom's voice grew suddenly deep and masterful, reminding her of the kind of voice used for God in the biblical films she and Grammy had used to watch on TV in the afternoons.

‘Alice—turn it off!'

‘I want to see your face,' hissed Alice. ‘Someone saw you. So don't waste time telling lies.'

‘Who? Who saw me?' He would be looking, Liz decided, at the ceiling and Alice would be propped on one elbow studying him, biting her lip. She could see them, Alice and Tom and their room, behind her eyes. It was almost as if she were there—even though she never had been—as if she were a camera, or as if they were on a television screen inside her head. If so it would be good, she thought, to be able to change the programme for something more exciting, with murders and space ships, aliens, time warps, ghosts.

‘But it's better than nothing,' she whispered to Jim, moving him carefully to the other breast.

‘Who saw me?'

‘That girl who's moved in next door, the one with the baby. She saw you.'

Now, that's something, thought Liz, which doesn't happen on the television; they don't all of a sudden mention you, as if you weren't there watching them. Much less
lie
about you.

Tom said nothing. Liz imagined him, staring straight ahead at the wall, rock-still, weighing the information for plausibility, deciding on his tactics. It was Alice's voice she heard next, muffled: ‘I'm sorry!' Tom, Liz thought, must be holding her to his chest. He must have flicked his eyes round
and shaken his head ever so slightly. Now Alice would pull away, her face crumpled. She'd wipe her eyes, swallow . 
. .

‘Answer
me this. Just this,' Alice said. ‘If you had an absolutely free choice. If it wouldn't hurt anyone, her or me, what would you do? Would you go to one or the other, or neither, or would you stay or want to leave me? Or would you want to see both, and if you did that where would you want to live? Tell me, please.'

‘That's ridiculous,' said Tom. ‘You.'

‘Even though—?'

‘It may not even be mine.'

‘I hate her,' Alice said.

‘I do too,' said Tom.

This was how it had always ended, so far. Tom's face, large-featured and normally open to the point of blank, would be tight, the light shaming and relentless.

‘Off?' Tom asked hopefully, reaching across Alice for the switch. After a few moments Alice would press herself next to Tom so that he could feel her and smell her. She would change position a few times, wait a little, reach down . . .

‘No—'

‘Sorry—' Tom added, as Alice began to sob and gasp.

‘What's wrong?'

‘Nothing. I want to really,' he said. ‘Really. But we must get some sleep.'

On the other side of the wall Jim sucked slower, making
small wet noises, breathing hard. Liz listened to Alice's speechlessness. The light switch clicked again. A door, flung open, banged against a wall; there were footsteps on the stairs. Liz could still follow them in her mind's eye—Alice in an embroidered kimono perhaps, Tom in a crumpled track­ suit picked off the bedroom floor—but although she could hear their plumbing squeal and their boiler coughing itself into life, the faint mumble of their voices scarcely carried upstairs.

She patted Jim's back the way she had been shown. ‘We have to guess what will happen next,' she said. ‘He might go for her with a kitchen knife, and sever the carotid, not meaning to. But after, to make the best of it, he'd joint and freeze her. Then eat her slowly, over a year or so, everything, keeping up his normal life just the same. But he'd save the heart for last . . .

‘. . . and roast it. But it'd choke him.' She wrapped Jim up and settled him back in the bed. ‘Couldn't tell an
ordinary
baby stories like that.'

‘First thing I'll do,' she told him, ‘as soon as I've got the lie of the land, is get us a decent TV set.'

In 125, which joined Liz's house at the top but was separated at ground-floor level by a passageway, Frank Styne—born John Green—was also awake, despite the sleeping pill he had taken to make sure that the girl and her baby didn't keep him awake. If there had been a constant stream of sounds it would have been easier to ignore or to complain about. But there was only the other-worldly cry of the child, the soft sudden mumble of the girl's speech, not loud enough to follow, not frequent enough to anticipate. He often found himself listening to the silence between sounds. Oh, sleep . . . Being a big man, he thought, perhaps he should have taken
two
of the tablets. But where would it end? He mistrusted the yellow, metal-smelling pills. They were to be just a temporary measure. The house next door had been empty for a long time before, then workmen had come, then her . . . Presumably, he told himself, I will grow used to it in time, adjust.

He sat in his pyjamas, banked with pillows, in his single bed. An aluminium reading frame supported the book on his lap; a tiny halogen lamp peeped over his shoulder illuminating only the page and his hand. Frank was an author. He read from one of his own novels every night. Constant
re-reading ensured a consistent style. There were nearly twenty to choose from now.
The Killer Gene,
written ten years ago, was still in print and earning—less, but steadily.

Sleep was a necessity, but Frank loved and savoured it like a luxury; the way it pushed him down, obliterated him. Complete conquest. Absolute nothingness. He didn't dream pictures or words. He sometimes dreamed a feeling, a feeling of hotness and fullness and want and fight, an aching dream, restless as wind, half dangerous, half safe—a dream, almost, of wakefulness—then lost it, mercifully, at dawn. It was best, he believed, to live as much as possible in the present, which was quite bearable, even good.

And, at last, the key turned. The words before him tumbled in slow motion to nonsense. He lifted the reading frame from his lap and gratefully extinguished the light.