Mean Spirit

It was stopped, obviously, the moment the shoulder straps came down. Kurt having to pretend to glance at his watch, realizing there’d be insufficient time for the Lottery draw. Oh, what a shame, perhaps another time. All right, when I snap my fingers, Cindy, you will … awake.

Click-click. Cindy blinking and, spotting the stocking on the camera, shrieking, ‘Oh you bastard!’ Technicians laughing their cans off. A triumph. Go down a bomb on the night.

‘Now, Cindy,’ Kurt says — they are sitting on two adjacent cane chairs and the lights are lowered — ‘I want you to relax.’

Cindy’s on his own. Out of contact with his producer, but Jo trusts him.

‘Relax? Me? Nervous wreck, Kurt. Oh, all right then.’ Straightening his dress over his knees and laying his hands demurely in his lap. ‘In your hands, I am. Big Boy.’

And, to a low whoooh from the audience, Kurt takes Cindy’s hand and holds it up. Remarks on the bangles, how heavy they must be — taking his own hand away, leaving Cindy’s hanging there. How very, very heavy. As heavy as his eyelids.

Cindy smiles, letting his body relax but carefully detaching his consciousness, watching Kurt as from a couple of yards away. Studying Kurt’s performance — that low, midnight voice, a seasoned seducer’s voice. Ostensibly having a chat, but the words coming very slightly slower than normal, the tone a little thicker, textured, conveying a conviction — the sense of certainty which must swiftly be impressed upon the subject.

This is the art of informal hypnosis. People think you need a swinging watch or a deep, fluid gaze. Not true.

Cindy’s arm falls slowly to his lap. Kurt is telling him he’s simply resting, allowing his mind to relax. Telling him he can hear everything Kurt is saying to him but he really doesn’t have to think about it because he’s so pleassssssantly drowwwwwsy. Talking evenly, to deepen the trance, and after little more than half a minute, Kurt’s voice is pouring into his head like warm olive oil.

‘You hearing me OK, Cindy?’

‘Yes.’ A whisper. Cindy’s whole attention is fixed on Kurt, as though the set and the lights and camera and the studio audience no longer exist. He produces a couple of butterfly blinks.

‘It’s very comfortable here in this chair, isn’t it?’

‘Yes.’ Deepening his breathing.

‘Warm.’

‘Yes.’

‘And getting warmer.’

‘Yessss.’ Should he attempt to sweat?

‘Getting warmer and warmer still under these very strong lights. You’re beginning to perspire and your clothes are feeling tighter. Very much tighter.’

‘Oh, yes.’ Cindy squirms a little, gives an apparently involuntary swallow.

‘You’ve simply got to take something off.’

A little smile on Kurt’s leonine face. He’s quite a big-boned man, probably has to watch his weight. By middle age, he will be a formidable presence. But already, at twenty-nine, Kurt has an undeniable strength and his influence is growing. His television work is now merely the icing on a very rich cake, filled with the lucrative cream of consultancies — Kurt has his own company, operating in industry, where he motivates sales forces, perhaps even passing on (highly improper, in Cindy’s view) some tricks of the trade which will enable salespersons to apply gentle hypnotic pressure to recalcitrant customers.

‘Your wrists have expanded in the heat, so that the bangles are tight. Take one off.’

Cindy shrugs off a bangle, which clatters to the studio floor. He’s thinking that when it comes to buying himself a castle, Kurt Campbell is a man who certainly has no need of a Lottery grant. Or a Lottery win. Or the Lottery show itself… but perhaps it’s to serve his ego. Or perhaps Kurt also gets that live-television buzz which, coupled with the hypnotist’s power buzz, must make for a very intoxicating surge.

‘Hey, Cindy … You’re a star. A performer.’

Cindy smiles, giggles faintly.

‘If you’re going to take off your bangles, you want to make a performance of it. Stand up.’

Cindy comes gracefully to his feet.

‘You … are a stripper.’

Squeals from the audience, to which Cindy doesn’t react.

‘You know how a stripper performs. You’ve done it soooo many times you could do it in your sleep.’

‘Yes.’

‘So when your music starts up, you’re going to begin by taking off your bangles … like a stripper.’

And so it begins. Apparently oblivious of the audience laughter, Cindy tosses his bangles one by one into the crowd, where they’re scrabbled for as trophies.

Kurt Campbell smiles, but he’s always watchful. A professional.

The taped music — no originality required here — bumps and grinds along its languorous, familiar catwalk.

Up comes the skirt, to howls and wolf whistles. Cindy feels a real sweat breaking out. How easy and pleasant it must be to surrender to hypnosis … but what a careful combination of attention and detachment is required to carry out the commands to the letter while remaining unhypnotized.

The pop of the suspender, a glimpse of knicker — from the rear, naturally — and off comes the first stocking, landing at the feet of a young man who hesitates, unable to decide whether retrieving it will be his moment of celebrity or mark him out as gay, poor dab.

Off comes the second stocking, and Cindy aims for the camera he isn’t supposed to be aware of, knowing what a nice shot this will make, but the stocking falls short.

One minute, Cindy estimates, before the rather risque hypnotism sketch must be wound up and the famous National Lottery machine activated.

He drops a black shoulder strap, provocatively flexing the arm muscles to an intake of breath from the audience — most of them at last having come to believe that this is the real thing; you can tell by the sudden hush.

While young Kurt Campbell, of course, knows that it’s real. And that he must presently bring Cindy out of his trance.

Cindy does an exotic twirl, turning his other shoulder to the audience and to Camera One. On the way round he comes face to face with Kurt, and Kurt’s face is impassive; he’s leaning back in his cane chair, legs stretched out, relaxed, enjoying the show. The music swells to its final climax. After the second strap is lowered, the music will fade and Kurt will look at his watch in apparent alarm, come to his feet, wander casually over and stop the performance, bringing Cindy safely out of trance … bemused and appealing to the audience to tell him what appalling atrocities he’s committed.

Down comes the strap. Cindy feels his bodice start to slide. Take it carefully now, or two foam-rubber tits will drop out and go rolling into the audience. Trophies indeed!

The music fades.

Nothing happens. Cindy does another twirl.

Which shows him that Kurt, smiling complacently, has remained seated.

The music continues at background level.

Christ.

Cindy continues his voluptuous weaving, the bodice continues to slip — thank the Lord he doesn’t have a hairy chest — and still Kurt Campbell doesn’t move … Kurt Campbell who firmly believes, because he’s done this thousands of times before and is absolutely sure of his power, that he has Cindy in deep trance and about to disclose his small, male nipples.

And this is not merely mischief, because Kurt knows that Cindy’s act depends on that continued ambivalence … is he or isn’t he? — with so many levels to that question — and that the revelation of his padding will literally be the end of him … the end of his credibility, the end of his career even on Bournemouth Pier.

Why does Campbell want to do this to him? What has he ever done to the boy to inspire such cruelly reckless disdain?