Last Orders (4 page)

'Raysy,' he says, 'I told him to give me the odds straight. He says he aint a betting man but I winkle it out of him. "Let's say two to one," he says. I say, "Sounds like I'm the bleeding favourite, don't it?" Then he starts up about how he can do this and he can do that, and I says, "Don't muck me about." I pulls open my pyjama top. I say, 'Where d'you make the cut?' And he looks all sort of like his nose is out of joint and I aint playing according to the rules, so I say, "Professional interest, you understand. Professional interest" Then he looks at me puzzled, so I say, "Don't it say in that file of yours what I do for a living? Sorry, I mean 'did'." So he glances quickly down his notes - a bit sheepish now. Then he says, "Ah—I see that you were a butcher, Mr Dodds." And I says, "Master butcher." '

'So anyone tell me?' Vie says. 'Why?'

'It's where we used to go,' Vince says. 'Sunday outings. In the old meat van.'

Lenny says, 'I know that, don't I, Big Boy? Think I don't remember? But this aint a Sunday outing.'

I say, 'It's where they went for their honeymoon.'

Lenny says, 'I thought they didn't have no honeymoon. I thought they were saving up for a pram at the time.'

'They had a honeymoon later,' I say. 'After June was born. They thought at least they should have their honeymoon.'

Lenny gives me a glance. 'Must have been some honeymoon.'

'It's true, though,' Vince says. 'Summer of'39.'

'You were there, were you, Big Boy?' Lenny says.

Everyone goes quiet.

'From a meat van to a Merc, eh?' Lenny says. 'Come to think of it, Raysy, you weren't around either.'

Vince is watching us in the driving mirror. You can't see his eyes behind those shades.

I say, 'Amy told me.'

Lenny says, 'Amy told you. She told you why she aint come along an' all?'

Everyone goes quiet.

Vie says, 'Makes no difference, does it? Jack's none the wiser, is he? As a matter of fact, I told her if she wanted to forget the whole thing he'd be none the wiser either. If they scattered the ashes in the cemetery garden, he wouldn't know, would he?'

'And you an undertaker,' Lenny says.

I say, 'She's seeing June. Today's her day for seeing June.'

'That aint the point,' Lenny says. 'If Amy didn't go to see June just for once, June'd be none the wiser either. June aint none the wiser about anything, is she? If Amy weren't up to it, she could have waited till she was ready, it didn't have to be done today.'

Vie says, 'You shouldn't judge.'

Lenny says, 'Ashes is ashes.'

Vie says, 'And best to do things prompt,'

Lenny says, 'And wishes is wishes.'

Vince says, 'How do we know he'd be none the wiser?'

Lenny says, 'Not that I'm saying I'd be such a fool as to make such a wish myself.'

'It wasn't specific,' I say.

Lenny says, 'What weren't specific?'

'What Jack wrote. About his wishes. It never said Amy should do it, just that he wanted it done.'

Lenny says, 'How d'you know that?'

'Amy showed me.'

'Amy showed you? Seems I'm the only one here who aint in the know.' He looks out the window. We're coming up on to Blackheath, past the back end of Greenwich Park. There are daffs out on the verges. 'And Raysy here's a mine of information.'

Vince is looking in the mirror.

Vie is getting all uncomfortable and tut-tutty, like it's time to change the subject He says, 'It's like the horses. Have to prise it out of him these days.'

Vic's holding the box. I don't think he should hold the box all the time.

Lenny says, 'Even then, he gives you duff tips.'

I say, 'Last tip I gave came good.'

Vince is still looking.

Lenny says, 'Well it weren't for any of us.'

Vie says, 'Who, Raysy?' Vic'd make a good referee.

I say, 'Be telling, wouldn't it?'

I look out the window. Blackheath isn't black and it isn't a heath. It's all green grass under blue sky. If it weren't for the roads criss-crossing it, it would make a good gallop. Highwaymen here once- Coaches to Dover. Your money or your life.

Vie says, 'Well it's still a mystery. Why Margate?'

Lenny says, 'I reckon it was a try-on, just to see if we'd do it.'

Vince half turns in his seat. 'So you think he does know? You think he can see us?'

Lenny blinks and pauses a moment. He looks at me, then at Vie as if he needs some of that refereeing.

'Manner of speaking, Vincey, manner of speaking. Course he can't see us. He can't see nothing.'

Vic's hands move a little over the box.

Then Lenny chuckles. 'Mind you, Big Boy, if he can't see us, if he can't see nothing, why d'you go and borrow a Merc?'

Vince looks at the road ahead.

The sun's sparkling on the grass. Jack can't see it.

Vie says, slow and gentle, 'It's the gesture, Vince. It's a fine gesture. It's a beautiful car.'

Vince says, 'It aint a meat van.'

Jack's eyes are shut, he looks asleep, and I think, I could just slip away, I could just sneak out, but if he's not asleep he'll know I've sneaked out, he'll have tested me. So I say, 'Jack?' and he opens his eyes, quick as you like.

There's that nurse on duty, Nurse Kelly, the one I fancy, black hair. I think, Given half the chance, I could try it on. Special circs, after all. Like when the world's about to end. How about it, Nursey, you and me? I could sneak out with Nurse Kelly.

I say, 'Amy said you wanted a word. Just you and me.' He doesn't say nothing for a bit, then he says, 'I told Amy I wanted to see Ray. I told Amy to tell Ray to drop by.'

He looks at me.

I say, 'It's me, Jack. It's Vince.' Because you can't tell, what with the drugs. What with everything.

He says, 'I aint lost my marbles.' Staring at me.

I suppose he knows by now, really knows. Like it's sunk in proper and he's had time to live with it, live with if, and it's not someone's idea of a joke. Like someone tells you it's the finish, but you hadn't finished, you weren't even close to finishing.

He must know. But I don't know what it's like to know. Don't want to know either.

He says, 'I know it's you, Vince, and I know it's me. You want to swap?'

I smile, sort of stupid.

He says, 'Come here, Vince, I want to ask you something.'

It's a wild night out, wet and windy. On the window at the end of the unit you can see the drops fluttering and fanning. But I don't suppose it matters in here, what it's like out there, rain or shine, it aint a major talking-point.

I think of Nurse Kelly going off-shift, wind up her skirt.

"Come here, Vince.'

I reckon I'm close enough, but I shift up the bed a bit and I lean forward. His hand's lying there on the bedclothes, the fingers half curled, the tapes and stuff further up on his wrist where the tubes go in. I know he wants me to take his hand. It shouldn't be such a hard thing, to take his hand, but it's as though if I take it, he's got me, he won't ever let go—

He says, 'I told Amy I wanted a word with Ray, all alone.'

'That's good,' I say. 'Ray's a mate.'

'Ray's a mate,' he says.

He looks at me.

He says, 'Amy don't know what's happening, does she? Amy don't know if she's coming or going.'

I say, 'She's okay, she's managing. She'll manage.'

Knowing she isn't, even if she will. Knowing she'll come into the spare room again tonight, where Mandy and me are sleeping, and want me to hold her and hug her, right there in front of Mandy, like I'm her new husband, like I'm Jack.

He says, 'I've got the easier job.'

I look at him.

I say, 'Don't seem a doddle to me.'

He says, 'People panic.'

Nurse Kell/s bending over some other poor bastard. I used to say to him, when I first saw her, 'You'll be all right there, Jack, landed on your feet there.' But I don't now. I don't know if it would be a torture or a mercy to be tucked up by Nurse Kelly when you're pegging out.

Her name's Joy. Nurse Joy Kelly. It says so on her badge, on her left tit.

Jack's dying and I've got a cockstand.

He says, 'So what did that geezer Strickland tell you? Before the op. Sweet-talk, you, did he?'

I think a bit then I say, 'I can tell you now, makes no difference. He said you had a one-in-ten chance.'

He looks at me. 'Ten to one. And you didn't bet, did you? I bet you didn't bet.'

I can tell he knows that I've known all along, somehow, that I haven't wished or hoped.

Chips for you, Jack.

He says, 'Help me up a bit, Vince,' and he grabs my arm and I brace myself so he can pull himself up. It must hurt with that zip in his belly, there's a purply stain on the bandage, but he doesn't wince, he just hangs on while I shift the pillows with my free hand. He don't weigh so much now. Big Jack.

He says, 'That's better.' But as he says it I can see the spasm starting inside him, I can see his throat working. He's going to fetch up some more of that muck. I grab a bowl from the stack and I get the tissues all ready. It's like when Kath was little.

He settles back, wiping his mouth. I put the bowl on the cabinet. He ought to look less like himself but he doesn't, he looks more like himself. It's as if because his body's packed up, everything's gone into his face and though that's changed, though it's all hollow with the flesh hanging on it, it only makes the main thing show through better, like someone's turned on a little light inside.

I say, 'What did you want to see me about?' As if I'm a busy man and I've got to be getting along. It came out wrong.

He looks at me. He looks right into my face like he's looking for a little light too, like he's looking for his own face in mine, and it goes right through me, like I'm hollow, like I'm empty, that I haven't got his eyes, his voice, his bones, his way of holding his jaw and looking straight at you without so much as a bleeding blink.

Then it wouldn't be finished, it wouldn't have to finish.

It's like I'm not real, I aint ever been real. But Jack's real, he's realler than ever. Though he aint going to be real much longer.

He says, 'I want you to lend me some cash.'

I say, 'Cash?'

He says, 'Cash.'

I say, 'You need cash?'

He touches the drawer of his bedside cabinet. 'I've got my wallet right here, next to my watch and my comb.' He half pulls open the drawer, sort of cautious and secretive. It's as though his whole life's in there.

I say, 'You need cash in here?'

He says, 'I need cash, son.'

But it's like I'm like his father now. Bedtime, Jack, no more larking about, I've come to say night-night.

I look at him and shrug and reach for my inside pocket but he grabs hold of my hand.

He says, 'I was thinking of a thousand pounds.'

I say, 'A thousand pounds? You want a thousand pounds?'

He says, 'By Friday, let's say. And not a dicky-bird.'

He looks at me, I look at him. He's holding my hand. He says, 'Don't ask me, Vince, don't ask me. It's a request, it aint an order.'

I look at him. There's the sign dangling over his head:

I say, 'Lend?'

He said, 'Take the reins, Ray boy. Go on, take 'em for your dad.'

It said TRANK JOHNSON - SITES CLEARED' up there on the board behind the seat on the cart, and sometimes he used to let me sit there with him just for the ride. But he said I wasn't cut out for scrap. He said I should get myself a job behind a desk, with my brains, and I never knew if it was on account of my build or my brains or on account of a desk job being a higher calling anyway, to his mind. So that if I'd been born all muscle, it wouldn't have made no difference, he still wouldn't have let me unload the cart. He had Charlie Dixon for that.

He wasn't so beefy himself, just tall, with a body that hung all loose and dangly from his shoulders like a coat from a coat hanger, as if he could've done with being an inch or two nearer the ground. And I used to wonder, sometimes, how a tall man like him had produced a half-pint like me, and whether it was such a straight piece of production, not remembering my mother.

It wasn't that it was a trade to be ashamed of: scrap-metal merchant. He wasn't no rag-and-bone man. He didn't sit on that cart bellowing himself hoarse, couldn't have done anyway, what with his chest. He didn't tout, he did work by arrangement, contract. All the same.

So I got the job at the insurance house. He was proud of me being an office boy. And him his own boss. Boss of the scrap-heap. Then the war came and scrap metal was a full-swing industry and he could've done with my extra pair of hands, but I had to swap being an office boy for being a soldier. He said, 'A titch like you, they'll pass you over.' But they didn't. He said, 'Well, anyhow, it'll be easier for you to keep your head down. That's my advice to you, keep your head down.' I did. And after the war it wasn't me who wasn't there any more, it was him. It wasn't a bomb, it was his chest. But I went back to the office anyway. After camping out in the desert with Jack Dodds I went back to an office in Blackfriars. I had the yard and the two-up-two-down, no war damage. I was drawing rent on the one, from Charlie Dixon, to keep up the payments on the other. A man of property, you might say, but I went to work every day as a clerk. It was partly that I knew then that it didn't make no difference, what a man does and how he lives in his head are two different things. But it was partly the memory of him, as if he was watching.

He used to let me muck out and feed Duke and he used to let me sit beside him on that cart sometimes. But I wasn't to lift scrap. Clip-clop, clip-clop. The day came when he said I could take the reins and I took 'em and learnt the knack of driving a cart-horse. He said, 'Don't pull 'em, twitch 'em, and click your tongue more like you mean it.' And I never said to him, there's this job that little fellers can do, little fellers only. It's to do with horses.