Bastion’s owner is called Edie Banister, and she is very small, and very wiry, and apparently goes back slightly further than the British Museum. She has a tight cap of silver hair through which, in places, the freckled skin of her scalp is visible. Her face—proud eyes and strong mouth suggesting powerful good looks in her day—is so pale that Joe imagines he can actually see the bone through her cheeks, and the wrinkles on her arms are folded around one another like melted plastic, all scrunched up in unpredictable directions. Edie Banister is old.
And yet she is profoundly alive. Over the past few months, she has found reason to call upon the services of Spork & Co. on several occasions. Joe has come to know her a little, and in this respect she reminds him of his grandfather, Danieclass="underline" she is almost vibrating with rich, distilled energy, as if the process of living all those decades has made a reduction of her spirit which is thick and slow in her chest, but sweeter and stronger for it.
Bastion wears his age less well. He is uglier than anything Joe has seen outside a deep-sea aquarium. He seems an unlikely companion for a woman like Edie Banister, but the world, Daniel once observed, is a great honeycombed thing composed of separated mysteries.
Joe has cause to know this for the truth. When a child, he inhabited a variety of secret places, courtesy of his bad dad, and though he has very firmly left those places behind, with their daring characters and picturesque names—the Old Campaigners, the Sinkhole, Kings Forget—he has discovered that every aspect of life is a strange gravitational system of people-planets, all orbiting unlikely suns such as golf clubs, theatres, and basket-weaving classes, falling prey to black holes like infidelity and penury. Or just fading away into space, alone.
And now they come to him in their droves. Dotty, aged, and absent-minded, they file through his doors clutching little pieces of broken memory: music boxes, clocks, fob watches and mechanical toys they once played with or inherited from their mothers, uncles and spouses, now gone to dust and ash.
Edie Banister offers him some more coffee. Joe declines. They smile at one another, nervously. They’re flirting; the elephant in the room—apart from Bastion’s unremarked grip on Joe’s nether parts—is a laburnum-wood box about the size of a portable record player, inlaid with paler wood around the edges. It is the reason for this latest visit to Edie Banister’s home, the reason he has locked up early and come out to Hendon, with its endless rows of almost-pretty, boring houses decorated in little-old-lady chic. Coquettish, she has drawn him here repeatedly and disappointed him, with bits of spavined gramophone and an unlikely steampunkish Teasmade. They have played out a species of seduction, in which she has offered her secrets day by day and he has responded with quick, strong hands and elegant solutions to the intractable problems of broken machinery. All the while, he has known she was testing him for something, weighing him up. Somewhere in this tiny set of rooms there is something much more interesting, something which sweet, ancient Edie clearly believes is going to knock his socks off, but which she is not quite ready to reveal.
He trusts devoutly that what she has in mind is clockwork rather than flesh.
She wets her lips, not with her tongue, but by turning them briefly inward and rubbing them together. Edie Banister comes from a time when ladies were not really supposed to admit to having tongues at all; mouths and saliva and the oral cavity proposed the possibility of other damp, fleshy places which were absolutely not to be thought of, most particularly by anybody who had one.
Joe reaches down to the box. Touches the wood. Lifts it, weighs the burden in his hands. He can feel… moment. A thing of importance. This sweet, dotty old bird has something stupendous, and she knows it. She’s been leading up to showing it to him. He wonders if today’s the day.
He opens the box. A Golgotha of armatures and sprockets. In his mind, he assembles them quickly: that’s the spine, yes, the main spring goes here, that’s part of the housing and so is that… dearie me. Much of this is just so much dross, extra gears and the like. Very untidy. But all together, the useful parts… Oh! Yes, good: early twentieth century by the style and materials, but quite refined in its making. An artisan piece, a one-off, and they always get more, especially if you can link them to a known craftsman. All the same, it’s not… well. Not what he was expecting, though he has no idea what that was.
Joe laughs, but quietly, so as not to waken the canine volcano burbling between his thighs.
“This is very fine. You realise it could be worth quite a bit of money?”
“Oh, dear,” Edie Banister says. “Do I need to insure it?”
“Well, perhaps. These automata can go for a few thousand on a good day.” He nods decisively. On a bad day, they can sit like a dead fish on the auctioneer’s pallet, but never mind that for now.
“Can you fix it?” Edie Banister says, and Joe brushes aside his disappointment and tells her that of course, yes, he can.
“Now?” she asks, and yes, again, because he has his kit, never leaves home without it. Soft-arm clamp to hold the housing. Another as a third hand. Tensioners. There’s no damage, actually, it looks as if someone took it apart on purpose. Quite carefully. Snickersnack, as it were, the thing is assembled, except… hmph. There’s a bit missing—ain’t it always so? It would crosslink the legs… hah! With a piece like that, this would have a veritable walking motion, almost human. Very impressive, very much ahead of its time. He’s seen a robot on the television which works the same way, and is considered a brilliant advance. This could almost be a prototype. No doubt somewhere the ghost of a dead artisan is fuming.
He glances at Edie for permission, ignites a tiny blowtorch, heats a strip of metal and twists, crimps, folds. Snickersnack again. He blows on it. Crimps once more. Yes. Like that, around there, and… so. Consumatum est, as his mother would have it.
Joe looks up, and Edie Banister is watching him, or perhaps she is watching her own life from a great distance. Her face is still, and for one ghastly moment he imagines she has expired right there. Then she shudders and smiles a little fey smile, and says thank you, and he winds the toy and sets it marching, a wee soldier trump-trump-trumping around the table and rucking up the cloth with miniature hobnail boots.
The dog peers back at him: eerie blind hound, stubby ears alert, straining to look through glass eyes. Not perfect, horologist. It drags one foot. But it will suffice. Behold: my mistress is much moved. This, for your pains. And now—begone.
Joe Spork hurries away, suddenly quite certain she wanted something else from him; she has some other secret, a grander one which requires this endless testing of J.J. Spork before it can be unveiled. He wonders a bit wistfully how he failed, considers going back. But perhaps she’s just lonely, and recognises in him a fellow isolate.
Not that he’s alone the way she is.
And not that he’s alone now, not entirely. In the corner of his eye something flickers, a dark shape reflected in the windows of a passing bus. A shadow in a doorway. He turns and looks both ways before crossing the road, very alert as he sweeps the street to his left. Almost, he misses it completely. It’s so still, it’s hard to make out; his eyes are seeking joints and movements where there are none. But there, in the shadowed porch of a boarded-up bakery, it seems that someone watches: a bundled figure in a dress or a heavy overcoat, with a veil like a mourner’s. A beekeeper or a widow, or a tall, thin child playing at being a ghost. Or most likely an old burlap sack hanging on a rack, deceiving the eye.
A moment later a long green estate car nearly runs him over. The angry maternal face behind the wheel glowers at him resentfully for being in the world, and the watcher—if there really was one—goes right out of his head.