“God,” he gasped, “that is so good. Oh yes, oh yes.”
Her face didn’t even flicker in response to his words, she just continued to work at him soundlessly. She wasn’t making her usual noises, the small grunts of satisfaction, the heavy breathing through the nose. She just ate his flesh in absolute silence.
He held his breath a moment, while an idea was born in his belly. The bobbing head bobbed on, eyes closed, lips clamped around his member, utterly engrossed. Half a minute passed; a minute; a minute and a half. And now his belly was full of terrors.
She wasn’t breathing. She was giving this matchless blow-job because she wasn’t stopping, even for a moment, to inhale or exhale.
Calloway felt his body go rigid, while his erection wilted in her throat. She didn’t falter in her labor; the relentless pumping continued at his groin even as his mind formed the unthinkable thought:
She’s dead.
She has me in her mouth, in her cold mouth, and she’s dead. That’s why she’d come back, got up off her mortuary slab and come back. She was eager to finish what she’d started, no longer caring about the play, or her usurper. It was this act she valued, this act alone. She’d chosen to perform it for eternity.
Calloway could do nothing with the realization but stare down like a damn fool while this corpse gave him head.
Then it seemed she sensed his horror. She opened her eyes and looked up at him. How could he ever have mistaken that dead stare for life? Gently, she withdrew his shrunken manhood from between her lips.
“What is it?” she asked, her fluting voice still affecting life.
“You… you’re not… breathing.”
Her face fell. She let him go.
“Oh darling,” she said, letting all pretence to life disappear, “I’m not so good at playing the part, am I?”
Her voice was a ghost’s voice: thin, forlorn. Her skin, which he had thought so flatteringly pale was, on second view, a waxen white.
“You are dead?” he said.
“I’m afraid so. Two hours ago: in my sleep. But I had to come, Terry; so much unfinished business. I made my choice. You should be flattered. You are flattered, aren’t you?”
She stood up and reached into her handbag, which she’d left beside the mirror. Calloway looked at the door, trying to make his limbs work, but they were inert. Besides, he had his trousers round his ankles. Two steps and he’d fall flat on his face.
She turned back on him, with something silver and sharp in her hand. Try as he might, he couldn’t get a focus on it. But whatever it was, she meant it for him.
Since the building of the new Crematorium in 1934, one humiliation had come after another for the cemetery. The tombs had been raided for lead coffin-linings, the stones overturned and smashed; it was fouled by dogs and graffiti. Very few mourners now came to tend the graves. The generations had dwindled, and the small number of people who might still have had a loved one buried there were too infirm to risk the throttled walkways, or too tender to bear looking at such vandalism.
It had not always been so. There were illustrious and influential families interred behind the marble facades of the Victorian mausoleums. Founder fathers, local industrialists and dignitaries, any and all who had done the town proud by their efforts. The body of the actress Constantia Lichfield had been buried here (“Until the Day Break and the Shadows Flee Away”), though her grave was almost unique in the attention some secret admirer still paid to it.
Nobody was watching that night, it was too bitter for lovers. Nobody saw Charlotte Hancock open the door of her sepulchre, with the beating wings of pigeons applauding her vigour as she shambled out to meet the moon. Her husband Gerard was with her, he less fresh than she, having been dead thirteen years longer. Joseph Jardine, en famille, was not far behind the Hancocks, as was Marriott Fletcher, and Anne Snell, and the Peacock Brothers; the list went on and on. In one corner, Alfred Crawshaw (Captain in the 17th Lancers) was helping his lovely wife Emma from the rot of their bed. Everywhere faces pressed at the cracks of the tomblids—was that not Kezia Reynolds with her child, who’d lived just a day, in her arms? and Martin van de Linde (the Memory of the Just is Blessed) whose wife had never been found; Rosa and Selina Goldfinch: upstanding women both; and Thomas Jerrey, and—
Too many names to mention. Too many states of decay to describe. Sufficient to say they rose: their burial finery flyborn, their faces stripped of all but the foundation of beauty. Still they came, swinging open the back gate of the cemetery and threading their way across the wasteland towards the Elysium. In the distance, the sound of traffic. Above, a jet roared in to land. One of the Peacock brothers, staring up at the winking giant as it passed over, missed his footing and fell on his face, shattering his jaw. They picked him up fondly, and escorted him on his way. There was no harm done; and what would a Resurrection be without a few laughs?
So the show went on.
“If music be the food of love, play on,
Give me excess of it; that, surfeiting,
The appetite may sicken and so die—”
Calloway could not be found at Curtain; but Ryan had instructions from Hammersmith (through the ubiquitous Mr. Lichfield) to take the show up with or without the Director.
“He’ll be upstairs, in the Gods,” said Lichfield. “In fact, I think I can see him from here.”
“Is he smiling?” asked Eddie.
“Grinning from ear to ear.”
“Then he’s pissed.”
The actors laughed. There was a good deal of laughter that night. The show was running smoothly, and though they couldn’t see the audience over the glare of the newly installed footlights they could feel the waves of love and delight pouring out of the auditorium. The actors were coming off stage elated.
“They’re all sitting in the Gods,” said Eddie, “but your friends, Mr. Lichfield, do an old ham good. They’re quiet of course, but such big smiles on their faces.”
Act I, Scene II; and the first entrance of Constantia Lichfield as Viola was met with spontaneous applause. Such applause. Like the hollow roll of snare drums, like the brittle beating of a thousand sticks on a thousand stretched skins. Lavish, wanton applause.
And, my God, she rose to the occasion. She began the play as she meant to go on, giving her whole heart to the role, not needing physicality to communicate the depth of her feelings, but speaking the poetry with such intelligence and passion the merest flutter of her hand was worth more than a hundred grander gestures. After that first scene her every entrance was met with the same applause from the audience, followed by almost reverential silence.
Backstage, a kind of buoyant confidence had set in. The whole company sniffed the success; a success which had been snatched miraculously from the jaws of disaster.
There again! Applause! Applause!
In his office, Hammersmith dimly registered the brittle din of adulation through a haze of booze.
He was in the act of pouring his eighth drink when the door opened. He glanced up for a moment and registered that the visitor was that upstart Calloway. Come to gloat I daresay, Hammersmith thought, come to tell me how wrong I was.
“What do you want?”
The punk didn’t answer. From the corner of his eye Hammersmith had an impression of a broad, bright smile on Calloway’s face. Self-satisfied half-wit, coming in here when a man was in mourning.
“I suppose you’ve heard?”
The other grunted.
“She died,” said Hammersmith, beginning to cry. “She died a few hours ago, without regaining consciousness. I haven’t told the actors. Didn’t seem worth it.”
Calloway said nothing in reply to this news. Didn’t the bastard care? Couldn’t he see that this was the end of the world? The woman was dead. She’d died in the bowels of the Elysium. There’d be official enquiries made, the insurance would be examined, a post-mortem, an inquest: it would reveal too much.