Alison was a Sensitive: which is to say, her senses were arranged in a different way from the senses of most people. She was a medium: dead people talked to her, and she talked back. She was a clairvoyant; she could see straight through the living, to their ambitions and secret sorrows, and tell you what they kept in their bedside drawers and how they had travelled to the venue. She wasn’t (by nature) a fortune-teller, but it was hard to make people understand that. Prediction, though she protested against it, had become a lucrative part of her business. At the end of the day, she believed, you have to suit the public and give them what they think they want. For fortunes, the biggest part of the trade was young girls. They always thought there might be a stranger on the horizon, love around the corner. They hoped for a better boyfriend than the one they’d got—more socialized, less spotty: or at least, one who wasn’t on remand. Men, on their own behalf, were not interested in fortune or fate. They believed they made their own, thanks very much. As for the dead, why should they worry about them? If they need to talk to their relatives, they have women to do that for them.
“G and T,” Colette said to the girl behind the bar. “Large.”
The girl reached for a glass and shoveled in a single ice cube.
“You can do better than that,” Colette said. “And lemon.”
She looked around. The bar was empty. The walls were padded to hip height with turquoise plastic leather, deep-buttoned. They’d been needing a damp cloth over them since about 1975. The fake wood tables looked sticky: the same applied.
The girl’s scoop probed the ice bucket. Another cube slinked down the side of the glass, to join its predecessor with a dull tap. The girl’s face showed nothing. Her full, lead-coloured eyes slid away from Colette’s face. She mouthed the price.
“For tonight’s artiste,” Colette said. “On the house, I’d have thought!”
The girl did not understand the expression. She had never heard “on the house.” She closed her eyes briefly: blue-veined lids.
Back through the foyer. It was filling up nicely. On the way to their seats, the audience had to pass the easel she had set up, with Al’s superenlarged picture swathed in a length of apricot polyester that Al called “my silk.” At first Colette had had trouble draping it, getting the loops just right, but now she’d got it pat—a twist of her wrist made a loop over the top of the portrait, another turn made a drift down one side, and the remainder spilled in graceful folds to whatever gritty carpet or bare boards they were performing on that night. She was working hard to break Al’s addiction to this particular bit of kitsch. Unbelievably tacky, she’d said, when she first joined her. She thought instead of a screen on which Al’s image was projected. But Al had said, you don’t want to find yourself overshadowed by the special effects. Look, Col, I’ve been told this, and it’s one bit of advice I’ll never forget; remember your roots. Remember where you started. In my case, that’s the village hall at Brookwood. So when you’re thinking of special effects, ask yourself, can you reproduce it in the village hall? If you can’t, forget it. It’s me they’ve come to see, after all. I’m a professional psychic, not some sort of magic act.
The truth was, Al adored the photo. It was seven years old now. The studio had mysteriously disappeared two of her chins; and caught those big starry eyes, her smile, and something of her sheen, that inward luminescence that Colette envied.
“All right?” said the manager. “All humming along, backstage?” He had slid back the lid of the ice cream chest and was peering within.
“Trouble in there?” Colette asked. He closed the lid hastily and looked shifty, as if he had been stealing. “See you’ve got the scaffolding up again.”
Alison kept out of London when she could. She would fight her way in as far as Hammersmith, or work the further reaches of the North Circular. Ewell and Uxbridge were on her patch, and Bromley and Harrow and Kingston-on-Thames. But the hubs of their business were the conurbations that clustered around the junctions of the M25, and the corridors of the M3 and M4. It was their fate to pass their evenings in crumbling civic buildings from the sixties and seventies, their exoskeletons in constant need of patching: tiles raining from their roofs, murals stickily ungluing from their walls. The carpets felt tacky and the walls exhaled an acrid vapour. Thirty years of freeze-dried damp had crystallized in the concrete, like the tiny pellets from which you boil up packet soup. The village hall was worse, of course, and they still played some of those. She had to liaise with village-idiot caretakers, and bark her shins and ankles hauling chairs into the semicircle Al favoured. She had to take the money on the door, tread the stage beforehand to detect comic squeaks, and pull out splinters; it was not unknown for Al to kick off her shoes partway through the first half, and commune barefoot with Spirit World.
“Is she all okay back there on her own?” asked the manager. “A large gin, that’s the ticket. Anything else she needs? We could fill the place twice over, you know. I call her the consummate professional.”
Backstage, Al was sucking an extra-strong mint. She could never eat before a show, and afterwards she was too hot, too strung-up, and what she needed to do was talk, talk it all out of her system. But sometimes, hours after she had put out the light, she would wake up and find herself famished and nauseous. She needed cake and chocolate bars then, to pad her flesh and keep her from the pinching of the dead, their peevish nipping and needle teeth. God knows, Colette said, what this eating pattern does to your insulin levels.
I’d really like my gin, she thought. She imagined Colette out there, doing battle for it.
Colette was sharp, rude and effective. Before they joined up, Al was thrust into all sorts of arrangements that she didn’t want, and she was too shy to speak out if things didn’t suit her. She never did sound checks unless the management told her to, and that was a mistake; you needed to insist on them. Before Colette, nobody had tested the lighting, or walked out onstage as her surrogate self, to judge the acoustics and the sight lines from the performer’s point of view. Nobody had even checked underfoot, for nails or broken glass. Nobody made them take the high stool away—they were always putting out a high stool for her to perch on, not having realized she was a big girl. She hated having to hoist herself up, and teeter like an angel on a pinhead: getting her skirt trapped, and trying to drag it from under her bottom while keeping her balance: feeling the stool buck under her, threatening to pitch her off. Before Colette, she’d done whole shows standing, just leaning against the high stool, sometimes draping one arm over it, as if that were the reason why it was put there. But Colette just minced the management when she spotted a stool onstage. “Take it away, she doesn’t work under those conditions.”
Instead Colette asked for an armchair, wide, capacious. Here, ideally, Alison would begin the evening, relaxed, ankles crossed, steadying her breathing before her opening remarks. At the first hint of a contact, she would lean forward; then she would jump up and advance to the front of the stage. She would hang over the audience, almost floating above their heads, her lucky opals flashing fire as she reached out, fingers spread. She’d got the lucky opals mail-order but, if asked, she pretended they’d been left to her family by a Russian princess.
She had explained it all when Colette first joined her. Russia was favourite for ancestors, even better than Romany, nowadays; you didn’t want to put anxiety in the clients’ minds, about fly-tipping, head lice, illegal tarmac
