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The Indian in the Cupboard
Lynne Reid Banks
The Indian in the Cupboard is the first of five gripping books about Omri and his plastic North American Indian – Little Bull – who comes alive when Omri puts him in a cupboardFor Omri, it is a dream come true when the plastic American Indian he locks into the old cupboard comes to life. Little Bull is everything an Indian brave should be – proud, fearless and defiant.But being in charge of a real, live, human being is a heavy responsibility, as Omri soon discovers. And when his best friend, Patrick, is let in on the secret, he soon realises that life-changing decisions lie ahead.
Copyright (#ulink_ff1867b5-a6c9-5418-9de9-bcd542c743a7)
First published in Great Britain by J.M. Dent & Sons Ltd 1981
First published by HarperCollins 1988
This edition published by HarperCollins Children’s Books 2016
HarperCollins Children’s Books is a division of HarperCollinsPublishers Ltd,
1 London Bridge Street
London SE1 9GF
The HarperCollins Children’s Books website address is
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Text copyright © Lynne Reid Banks 1981
Cover illustration © Pascal Campion 2016
Cover design © HarperCollinsPublishers, Ltd 2016
Illustrations copyright © Piers Sanford 1999
Note from the author copyright © 2000 Lynne Reid Banks
Lynne Reid Banks and Piers Sanford assert the moral right to be identified as the author and illustrator of the work.
A catalogue copy of this book is available from the British Library.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780007309955
Ebook Edition © 2016 ISBN: 9780007379798
Version: 2016-04-16
For Omri – who else?
CONTENTS
Cover (#u73c956c5-dc79-53f8-bfe6-3d7f204641cd)
Title Page (#ufa5ce030-8d46-5b69-bbba-9c8097159ba5)
Copyright (#uc79d13ca-e7b5-5b3a-a3de-f291878d0594)
Dedication (#ub0f8b405-ba89-526a-957c-52cc608fb13a)
Chapter One – Birthday Presents (#u6a74b771-33d9-52b8-9847-48dac397a921)
Chapter Two – The Door is Shut (#u1f47933f-f00d-5731-b1b2-7ff6c80af45b)
Chapter Three – Thirty Scalps (#u30bed87d-8435-526f-a279-40b2913816f9)
Chapter Four – The Great Outdoors (#u25c0055e-56a0-57cb-ada3-429d08657877)
Chapter Five – Tommy (#litres_trial_promo)
Chapter Six – The Chief is Dead, Long Live the Chief (#litres_trial_promo)
Chapter Seven – Uninvited Brothers (#litres_trial_promo)
Chapter Eight – Cowboy! (#litres_trial_promo)
Chapter Nine – Shooting Match (#litres_trial_promo)
Chapter Ten – Breakfast Truce (#litres_trial_promo)
Chapter Eleven – School (#litres_trial_promo)
Chapter Twelve – Trouble with Authority (#litres_trial_promo)
Chapter Thirteen – Art and Accusation (#litres_trial_promo)
Chapter Fourteen – The Fateful Arrow (#litres_trial_promo)
Chapter Fifteen – Underfloor Adventure (#litres_trial_promo)
Chapter Sixteen – Brothers (#litres_trial_promo)
More than a story (#litres_trial_promo)
About the Author (#litres_trial_promo)
Also by Lynne Reid Banks (#litres_trial_promo)
About the Publisher (#litres_trial_promo)
Chapter One (#ulink_a49a9f30-4fc4-5a7b-9f6b-af70fadfe8db)
BIRTHDAY PRESENTS (#ulink_a49a9f30-4fc4-5a7b-9f6b-af70fadfe8db)
IT WAS NOT that Omri didn’t appreciate Patrick’s birthday present to him. Far from it. He was really very grateful – sort of. It was, without a doubt, very kind of Patrick to give Omri anything at all, let alone a secondhand plastic Red Indian which he himself had finished with.
The trouble was, though, that Omri was getting a little fed up with small plastic figures, of which he had loads. Biscuit-tinsful, probably three or four if they were all put away at the same time, which they never were because most of the time they were scattered about in the bathroom, the loft, the kitchen, the breakfast-room, not to mention Omri’s bedroom and the garden. The compost heap was full of soldiers which, over several autumns, had been raked up with the leaves by Omri’s mother, who was rather careless about such things.
Omri and Patrick had spent many hours together playing with their joint collections of plastic toys. But now they’d had about enough of them, at least for the moment, and that was why, when Patrick brought his present to school on Omri’s birthday, Omri was disappointed. He tried not to show it, but he was.
“Do you really like him?” asked Patrick as Omri stood silently with the Indian in his hand.
“Yes, he’s fantastic,” said Omri in only a slightly flattish voice. “I haven’t got an Indian.”
“I know.”
“I haven’t got any cowboys either.”
“Nor have I. That’s why I couldn’t play anything with him.”
Omri opened his mouth to say, “I won’t be able to either,” but, thinking that might hurt Patrick’s feelings, he said nothing, put the Indian in his pocket and forgot about it.
After school there was a family tea, and all the excitement of his presents from his parents and his two older brothers. He was given his dearest wish – a skateboard complete with kick-board and cryptonic wheels from his mum and dad, and from his eldest brother, Adiel, a helmet. Gillon, his other brother, hadn’t bought him anything because he had no money (his pocket-money had been stopped some time ago in connection with a very unfortunate accident involving their father’s bicycle). So when Gillon’s turn came to give Omri a present, Omri was very surprised when a large parcel was put before him, untidily wrapped in brown paper and string.
“What is it?”
“Have a look. I found it in the alley.”
The alley was a narrow passage that ran along the bottom of the garden where the dustbins stood. The three boys used to play there sometimes, and occasionally found treasures that other – perhaps richer – neighbours had thrown away. So Omri was quite excited as he tore off the paper.
Inside was a small white metal cupboard with a mirror in the door, the kind you see over the basin in old-fashioned bathrooms.
You might suppose Omri would once again be disappointed, because the cupboard was fairly plain and, except for a shelf, completely empty, but oddly enough he was very pleased with it. He loved cupboards of any sort because of the fun of keeping things in them. He was not a very tidy boy in general, but he did like arranging things in cupboards and drawers and then opening them later and finding them just as he’d left them.
“I do wish it locked,” he said.
“You might say thank you before you start complaining,” said Gillon.
“It’s got a keyhole,” said their mother. “And I’ve got a whole boxful of keys. Why don’t you try the smaller ones and see if any of them fit?”
Most of the keys were much too big, but there were half a dozen that were about the right size. All but one of these were very ordinary. The un-ordinary one was the most interesting key in the whole collection, small with a complicated lock-part and a fancy top. A narrow strip of red satin ribbon was looped through one of its curly openings. Omri saved that key to the last.
None of the others fitted, and at last he picked up the curly-topped key and carefully put it in the keyhole on the cupboard door, just below the knob. He did hope very much that it would turn, and regretted wasting his birthday-cake-cutting wish on something so silly (or rather, unlikely) as that he might pass his spelling test the next day, which it would take real magic to bring about as he hadn’t even looked at the words since they’d been given out four days ago. Now he closed his eyes and unwished the test-pass and wished instead that this little twisty key would turn Gillon’s present into a secret cupboard.
The key turned smoothly in the lock. The door wouldn’t open.
“Hey! Mum! I’ve found one!”
“Have you, darling? Which one?” His mother came to look. “Oh, that one! How very odd. That was the key to my grandmother’s jewel-box, that she got from Florence. It was made of red leather and it fell to bits at last, but she kept the key and gave it to me. She was most terribly poor when she died, poor old sweetie, and kept crying because she had nothing to leave me, so in the end I said I’d rather have this little key than all the jewels in the world. I threaded it on that bit of ribbon – it was much longer then – and hung it round my neck and told her I’d always wear it and remember her. And I did for a long time. But then the ribbon broke and I nearly lost it.”
“You could have got a chain for it,” said Omri.
She looked at him. “You’re right,” she said. “I should have done just that. But I didn’t. And now it’s your cupboard key. Please don’t lose it, Omri, will you.”
Omri put the cupboard on his bedside table, and opening it, looked inside thoughtfully. What would he put in it?
“It’s supposed to be for medicines,” said Gillon. “You could keep your nose-drops in it.”
“No! That’s just wasting it. Besides, I haven’t any other medicines.”
“Why don’t you pop this in?” his mother suggested, and opened her hand. In it was Patrick’s Red Indian. “I found it when I was putting your trousers in the washing-machine.”
Omri carefully stood the Indian on the shelf.
“Are you going to shut the door?” asked his mother.
“Yes. And lock it.”
He did this and then kissed his mother and she turned the light out and he lay down on his side looking at the cupboard. He felt very content. Just as he was dropping off to sleep his eyes snapped open. He had thought he heard a little noise … but no. All was quiet. His eyes closed again.
In the morning there was no doubt about it. The noise actually woke him.
He lay perfectly still in the dawn light staring at the cupboard, from which was now coming a most extraordinary series of sounds. A pattering; a tapping; a scrabbling; and – surely? – a high-pitched noise like – well, almost like a tiny voice.
To be truthful, Omri was petrified. Who wouldn’t be? Undoubtedly there was something alive in that cupboard. At last, he put out his hand and touched it. He pulled very carefully, the door was tight shut. But as he pulled the cupboard moved, just slightly. The noise from inside instantly stopped.
He lay still for a long time, wondering. Had he imagined it? The noise did not start again. At last he cautiously turned the key and opened the cupboard door.
The Indian was gone.
Omri sat up sharply in bed and peered into the dark corners. Suddenly he saw him. But he wasn’t on the shelf any more, he was in the bottom of the cupboard. And he wasn’t standing upright. He was crouching in the darkest corner, half hidden by the front of the cupboard. And he was alive.
Omri knew that immediately. To begin with, though the Indian was trying to keep perfectly still – as still as Omri had kept, lying in bed a moment ago – he was breathing heavily. His bare, bronze shoulders rose and fell, and were shiny with sweat. The single feather sticking out of the back of his headband quivered, as if the Indian were trembling. And as Omri peered closer, and his breath fell on the tiny huddled figure, he saw it jump to its feet; its minute hand made a sudden, darting movement towards its belt and came to rest clutching the handle of a knife smaller than the shaft of a drawing-pin.
Neither Omri nor the Indian moved for perhaps a minute and a half. They hardly breathed either. They just stared at each other. The Indian’s eyes were black and fierce and frightened. His lower lip was drawn down from shining white teeth, so small you could scarcely see them except when they caught the light. He stood pressed against the inside wall of the cupboard, clutching his knife, rigid with terror, but defiant.
The first coherent thought that came into Omri’s mind as he began to get over the shock was, “I must call the others!” – meaning his parents and brothers. But something (he wasn’t sure what) stopped him. Maybe he was afraid that if he took his eyes off the Indian for even a moment, he would vanish, or become plastic again, and then when the others came running they would all laugh and accuse Omri of making things up. And who could blame anyone for not believing this unless they saw it with their own eyes?
Another reason Omri didn’t call anyone was that, if he was not dreaming and the Indian had really come alive, it was certainly the most marvellous thing that had ever happened to Omri in his life and he wanted to keep it to himself, at least at first.
His next thought was that he must somehow get the Indian in his hand. He didn’t want to frighten him any further, but he had to touch him. He simply had to. He reached his hand slowly into the cupboard.
The Indian gave a fantastic leap into the air. His black pigtail flew and the air ballooned out his loose-fitting leggings. His knife, raised above his head, flashed. He gave a shout which, even though it was a tiny shout to match his body, was nevertheless loud enough to make Omri jump. But not so much as he jumped when the little knife pierced his finger deeply enough to draw a drop of blood.
Omri stuck his finger in his mouth and sucked it and thought how gigantic he must look to the tiny Indian and how fantastically brave he had been to stab him. The Indian stood there, his feet, in moccasins, planted apart on the white-painted metal floor, his chest heaving, his knife held ready and his black eyes wild. Omri thought he was magnificent.
“I won’t hurt you,” he said. “I only want to pick you up.”
The Indian opened his mouth and a stream of words, spoken in that loud-tiny voice, came out, not one of which Omri could understand. But he noticed that the Indian’s strange grimace never changed – he could speak without closing his lips.
“Don’t you speak English?” asked Omri. All the Indians in films spoke a sort of English; it would be terrible if his Indian couldn’t. How would they talk to each other?
The Indian lowered his knife a fraction.
