A Crown of Lights

With all good wishes,

The Local People

‘ “The Local People”?’

Robin let the typewritten note flutter to the tabletop. ‘All of them? The entire population of Old Hindwell got together to present the newcomers with a wooden box with...’ He lifted the hinged lid, ‘... some paper in it.’

The box was of oak. It didn’t look all that old. Maybe a century, Betty thought. It was the size of a pencil box she’d had as a kid – narrow, coffin-shaped. You could probably fit it in the space left by a single extracted brick.

She was glad there was only paper in there, not... well, bones or something. She’d never seriously thought of Semtex, only bones. Why would she think that? She found she was shivering slightly, so kept her red ski jacket on.

Robin was excited, naturally: a mysterious wooden box left by a shadowy stranger, a cryptic note... major, major turn-on for him. She knew that within the next hour or so he’d have found the original hiding place of that box, if he had to pull the entire fireplace to pieces. He’d taken off his fleece and his mirrored fez. The warrior on the battlements had been replaced by the big schoolboy innocent.

He flicked on all the kitchen lights – just dangling bulbs, as yet, which made the room look even starker than in daylight. They hadn’t done anything with this room so far. There was a Belfast sink and a cranky old Rayburn and, under the window, their pine dining table and chairs from the flat. The table was much too small for this kitchen; up against the wall, under a window full of the day’s end, it looked like... well, an altar. For which this was not the correct place – and anyway, Betty was not yet sure she wanted an altar in the house. Part of the reason for finding a rural hideaway was to consider her own future, which – soon she’d have to confess to Robin – might not involve the Craft.

‘The paper looks old,’ Robin said. ‘Well... the ink went brown.’

‘Gosh, Rob, that must date it back to... oh, arguably pre-1980.’

He gave her one of those looks which said: Why have you no basic romance in you any more?

Which wasn’t true. She simply felt you should distinguish between true insight and passing impressions, between fleeting sensations and real feelings.

The basic feeling she had – especially since her sense of the praying man in the church – was one of severe unease. She would rather the box had not been delivered. She wished she didn’t have to know what was inside it.

Robin put the paper, still folded, on the table and just looked at it, not touching. Experiencing the moment, the hereness, the nowness.

And the disapproval of his lady.

All right, he’d happily concede that he loved all of this: the textures of twilight, those cuspy, numinous nearnesses. He’d agree that he didn’t like things to be over-bright and clear cut; that he wanted a foot in two countries – to feel obliquely linked to the old worlds.

And what was so wrong with that? He looked at the wild and golden lady who should be Rhiannon or Artemis or Titania but insisted on being called the ultimately prosaic Betty (this perverse need to appear ordinary). She knew what he needed – that he didn’t want too many mysteries explained, didn’t care to know precisely what ghosts were. Nor did he want the parallel world of faerie all mapped out like the London Underground. It was the gossamer trappings and wrappings that had given him a profession and a good living. He was Robin Thorogood: illustrator, seducer of souls, guardian of the softly lit doorways.

The box, then... Well, sure, the box had been more interesting unopened. Unless the paper inside was a treasure map.

He pushed it towards Betty. ‘You wanna check this out?’

She shook her head. She wouldn’t go near it. Robin rolled his eyes and picked up the paper. It fell open like a fan.

‘Well, it’s handwritten.’ He spread it flat on the tabletop.

‘Don’t count on it,’ Betty said. ‘You can fake all kinds of stuff with computers and scanners and paintboxes. You do it all the time.’

‘OK, so it’s a scam. Kirk Blackmore rigged it.’

‘If it was Kirk Blackmore,’ Betty said, ‘the box would have ludicrous runes carved all over it and when you opened it, there’d be clouds of dry ice.’

‘I guess. Oh no.’

‘What’s up?’

‘It’s some goddamn religious crap. Like the Jehovah’s Witnesses or one of those chain letters?’

‘OK, let me see.’ Betty came round and peered reluctantly at the browned ink. ‘ “In the name of the Father, Son and Holy Ghost, amen, amen, amen...” Amen three times.’

‘Dogmatic.’

‘Hmmm.’ Betty read on in silence, not touching the paper. She was standing directly under one of the dangling light-bulbs, so her hair was like a winter harvest. Robin loved that her hair seemed to have life of its own.

When she stepped away, she swallowed.

He said hoarsely, ‘What?’

‘Read.’

‘Poison pen?’

She shook her head and walked away toward the rumbling old Rayburn stove.

Robin bent over the document. Some of it was in Latin, which he couldn’t understand. But there was a row of symbols, which excited him at once.

Underneath, the words in English began. Some of them he couldn’t figure out. The meaning, however, was plain.

In the name of the Father Son and Holy Ghost Amen Amen Amen...

O Lord, Jesus Christ Saviour Salvator I beseech the salvation of all who dwell within from witchcraft and from the power of all evil men or women or spirits or wizards or hardness of heart Amen Amen Amen... Dei nunce... Amen Amen Amen Amen Amen.

By Jehovah, Jehovah and by the Ineffable Names 17317... Lord Jehovah... and so by the virtue of these Names Holy Names may all grief and dolor and all diseases depart from the dwellers herein and their cows and their horses and their sheep and their pigs and poultry without any molestation. By the power of our Lord Jesus Christ Amen Amen... Elohim... Emmanuel...

Finally my brethren be strong in the Lord and in the power of His might that we may overcome all witches spells and Inchantment or the power of Satan. Lord Jesus deliver them this day – April, 1852.

Robin sat down. He tried to smile, for Betty’s sake and because, in one way, it was just so ironic.

But he couldn’t manage a smile; he’d have to work on that. Because this was a joke, wasn’t it? It could actually be from Kirk Blackmore or one of the other authors, or Al Delaney, the art director at Talisman. They all knew he was moving house, and the new address: St Michael’s Farm, Old Hindwell, Radnorshire.

But this hadn’t arrived in the mail. And also, as Betty had pointed out, if it had been from any of those guys it would have been a whole lot more extreme – creepier, more Gothic, less homespun. And dated much further back than 1852.

No, it was more likely to be from those it said it was from.

The Local People – whatever that meant.