Deanna felt the sharp edges of the charms biting into her palm. She looked down at the bracelet in her hand. When she'd dived into the ocean, leaving Abby to think she'd drowned, Deanna had still clutched the bracelet. She'd kept it, thinking maybe she'd send it back to Abby as proof that she was alive. But then she'd decided the postcard would be enough… the postcard they'd picked out together, when they'd first hatched their plan, when Deanna had still thought – hoped – that Abby and her promises had been real.
Deanna fingered the charms on the bracelet, stopping at the lighthouse. She remembered her last evening with Abby, sitting behind the cover of the lighthouse, dipping their feet in the surf, their clothing strewn over the rocks and bushes. Abby had asked, oh so casually, how well Deanna could swim. And, as accustomed as she was to lies and deceit from her lovers, Deanna still almost fell for it. The truth had been on her lips, ready to tell Abby that she'd been captain of the swim team before she'd dropped out of school. Instead, when she opened her mouth, she heard herself say, 'Me? Can't swim a stroke. Never learned how.'
Deanna had tried to look past it, told herself she was too suspicious. And yet… Well, it never hurts to have a plan B.
She let the lighthouse charm fall from her fingers. That had been her lucky charm that night, when the unexpected fog rolled in. She'd followed its beam back to shore. Then, before she'd left town, she'd returned to the lighthouse one last time, to leave something for Abby. On the postcard, she written only one line, instructing Abby to look for further 'correspondence' at the 'charmed' place. There, in the very spot where she'd deceived her lover, Abby would find detailed instructions on how to make her penance, on the exact penalty she must pay. The demand was fair. Not enough to send Abby into bankruptcy, just enough to hurt. For every action, there is a price to be paid. Deanna knew that, and, now, so would Abby.
Deanna drew back her arm and pitched the bracelet into the water. Then she turned and headed back to the hotel.
THE INKPOT MONKEY by John Connolly
Mr Edgerton was suffering from writer's block; it was, he quickly grew to realize, a most distressing complaint. A touch of influenza might lay a man up for a day or two, yet still his mind could continue its ruminations. Gout might leave him racked with pain, yet still his fingers could grasp a pen and turn pain to pennies. But this blockage, this barrier to all progress, had left Mr Edgerton a virtual cripple. His mind would not function, his hands would not write, and his bills would not be paid. In a career spanning the best part of two decades he had never before encountered such an obstacle to his vocation. He had, in that time, produced five moderately successful, if rather indifferent, novels; a book of memoirs that, in truth, owed more to invention than experience; and a collection of poetry that could most charitably be described as having stretched the capacities of free verse to the limits of their acceptability.
Mr Edgerton made his modest living from writing by the yard, based on the unstated belief that if he produced a sufficient quantity of material then something of quality was bound to creep in, if only in accordance with the law of averages. Journalism, ghostwriting, versifying, editorializing; nothing was beneath his limited capabilities.
Yet, for the past three months the closest he had come to a writing project was the construction of his weekly grocery list. A veritable tundra of empty white pages stretched before him, the gleaming nib of his pen poised above them like a reluctant explorer. His mind was a blank, the creative juices sapped from it, leaving behind only a dried husk of frustration and bewilderment. He began to fear his writing desk, once his beloved companion but now reduced to the status of a faithless lover, and it pained him to look upon it. Paper, ink, desk, imagination, all had betrayed him, leaving him lost and alone.
To further complicate matters, Mr Edgerton's wallet had begun to feel decidedly lightweight of late, and nothing will dampen a man's ardour for life more than an empty pocket. Like a rodent gripped in the coils of a great constricting snake, he found that the more he struggled against his situation, the tighter the pressure upon him grew. Necessity, wrote Ovid, is the mother of invention. For Mr Edgerton, desperation was proving to be the father of despair.
And so, once again, Mr Edgerton found himself wandering the streets of the city, vainly hunting for inspiration like a hungry leech seeking blood. In time, he came to Charing Cross Road, but the miles of shelved books only depressed him further, especially since he could find none of his own among their number. Head down, he cut through Cecil Court and made his way into Covent Garden in the faint hope that the vibrancy of the markets might spur his sluggish subconscious into action. He was almost at the Magistrates' Court when something caught his eye in the window of a small antique shop. There, partially hidden behind a framed portrait of General Gordon and a stuffed magpie, was a most remarkable inkpot.
It was silver, and about four inches tall, with a lacquered base adorned by Chinese characters. But what was most striking about it was the small, mummified monkey that perched upon its lid, its clawed toes clasped upon the rim and its dark eyes gleaming in the summer sunlight. It was obviously an infant of its species, perhaps even a foetus of some kind, for it was no more than three inches in height, and predominantly grey in colour, except for its face, which was blackened round the mouth as if the monkey had been sipping from its own inkpot. It really was a most ghastly creature, but Mr Edgerton had acquired the civilized man's taste for the grotesque and he quickly made his way into the darkened shop to enquire about the nature of the item in question.
The owner of the business proved to be almost as distasteful in appearance as the creature that had attracted Mr Edgerton's attention, as though the man were somehow father to the monkey. His teeth were too numerous for his mouth, his mouth too large for his face, and his head too great for his body. Combined with a pronounced stoop to his back, his aspect was that of one constantly on the verge of toppling over. He also smelled decidedly odd, and Mr Edgerton quickly concluded that he was probably in the habit of sleeping in his clothes, a deduction that briefly led the afflicted writer to an unwelcome speculation upon the nature of the body that lay concealed beneath the layers of unwashed clothing.
Nevertheless, the proprietor proved to be a veritable font of knowledge about the items in his possession, including the article that had brought Mr Edgerton into his presence. The mummified primate was, he informed the writer, an inkpot monkey, a creature of Chinese mythology. According to the myth, the monkey provided artistic inspiration in return for the residues of ink left in the bottom of the inkwell.
Mr Edgerton was a somewhat superstitious (and, it must be said, sentimental) man: he still wore, much to the amusement of his peers, his mother's old charm bracelet, a rag-tag bauble of dubious taste that she found one day while walking upon the seashore and had subsequently bequeathed to him upon her death, along with a set of antique combs, now pawned, and a small sum of money, now spent. Among the items dangling from its links was a small gold monkey. It had always fascinated him as a child, and the discovery of a similar relic in the window of the antique store seemed to him nothing less than a sign from the Divine. As a man who was profoundly in need of inspiration from any source, and who had recently been considering opium or cheap gin as possible catalysts, he required no further convincing. He paid over money he could ill afford for the faint hope of redemption offered by the curiosity, and made his way back to his small apartments with the inkpot and its monkey tucked beneath his arm in a cloak of brown paper.