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Me, I’d rather have died than bring Davey back for Sunday tea to be quizzed over tinned-salmon sandwiches. So where do you come from, Davey? Stevenage? A pause while they tried to work out where that was. Further off than Hungerford, is it? Town boy, then? Eyebrows would lift, oh, yes, they would. And your dad? Scottish? Oh…
‘None of your busies,’ I said. Might as well have said, yes, Mam, clear a space on the calendar to get them banns read out in church. She winked.
* * *
There was a bit of a tired old wind batting at the beech trees, nothing much but enough to bite, as I slipped out of the back door and through the tall rows of bean sticks, which Dad had never bothered to take down last year. The ground was soft and claggy but not too wet underfoot: it’d been a mild January and there was no frost. I unlatched the garden gate into Green Street. Dad didn’t like us using the front door: he said it was for the guests, and my job to wash the tiles in the hallway every morning.
There was a light on in Tommy’s cottage, him that’d been a drummer boy in the Boer War. No electric there–Tommy didn’t want it or couldn’t afford to pay Mr Rawlins for it, so the soft yellow glow of an oil lamp spilled out of his top window. Funny place, that cottage, damp as all-get-out, and cold even on a sunny day. There’s places like that in the village and I always walked faster past them. Still do. Some nights, too, you’d think you heard drums coming from the north of the circle, but Dad said that was only the wind in the trees, or Mr Rawlins’s generator.
I made my way along Green Street towards the middle of the village. There was a lot of noise coming from the Red Lion: Mr Keiller’s men. They gathered there of an evening and some was staying there too, the archaeologists who ran the digs. Mr Keiller would book all the bedrooms for the season while they was digging, which was usually June to September; but Mr Young and Mr Piggott had carried on sorting the finds all through the winter. This year it would be a long season, I’d heard, because they wouldn’t stop until they had the western half of the stone circle complete.
That was Mr Keiller’s mad dream, you see: to put up all them stones the way they’d been. Don’t ask me how he could’ve known what Avebury was like five thousand years ago, but he reckoned he had the measure of it. Good luck to him, I used to think, though there was plenty of people in the village thought it all a load of old tosh and bad luck, too, to mess with what was long gone. When I was small, you’d be hard pressed to say you could see them stones forming any sort of circle whatsoever. Until last year there’d bin trees growing that hid the banks, and most of the stones was laying down like dead soldiers, hidden among bushes and trees and in people’s gardens. Folk in times gone by had knocked down stones and buried them and broke them up and now half the village is the stones, walls and whole cottages built out of them.
I’m going off at a whatsit. A tangerine, as my mam used to say. That night, Davey was waiting for me at the crossroads under the trees. He gives me a kiss on the cheek, and then because he’s getting bolder by the day, one on the lips, even though anyone could have seen us in the light from the lamp on the outside of the Red Lion. Then he steps back, and looks meaningful towards the dark field.
I shook my head. That was a step too far. In the part of the circle Mr Keiller hadn’t turned his hand to yet, which is to say most of it, the wild part where the cottage gardens ended and the trees and bushes still grew tangled, the darkness would have been full of whispers. There’d’ve been some out there doing their courting even in winter. People like to give themselves a good shiver under a big old haunted moon. Tell you summat else’d surprise you. We used to hug them stones, same as they hippies do today. They was warm, see, even on a cold day. Don’t ask me why. They held summer’s heat all winter under veils of grey-green lichen. That’s why courting couples used to go there, not just for privacy, or whatever magic was left in them–for warmth, too. That’s what it all comes down to, in’t it, needing a bit of warmth?
But I wasn’t ready for any of that with Davey. He was my first beau, three or four years older than me. He’d been working at the stables over Beckhampton when I first saw him, on top of a big bay in a string of racehorses walking out up Green Street headed for the Gallops, but now he had a job with Mr Keiller at the Manor, looking after his cars, and sometimes he even drove Mr K about, though there was a proper chauffeur who was Davey’s boss. From horses to horsepower, Davey said. He preferred motors because they didn’t kick.
I’d first talked to him at a village cricket match last summer, ever so clean in his whites. Not very tall, but he was sturdy at the wicket, a big hitter and he could run like blazes. Clever, too, in his bowling. He coached the younger boys on Saturdays, if he wasn’t busy with his chammy leather cleaning the cars.
His dad had been a bookie who bullied his son into an apprenticeship at a racing stable in the hope he’d pass on useful tips. Too late: Davey were hardly started when Mr Fergusson miscalculated the odds at Brighton, couldn’t pay out, and hanged hisself with a halter under the stands. Davey’d stuck out the job at Beckhampton for two more miserable years–everyone knew the trainer took his fists to the boys when the temper was on him. But then he met Mr Keiller and somehow he wangled a job. A Scottish surname maybe helped.
We linked arms under the trees, and he pretended to lay his head on my shoulder like he was too tired to hold it up, as we walked down the track that leads to the back of the barns and the duckpond, glimmering under the moon. He had a typical stable-lad’s build with narrow hips and strong arms; shame he hated the horses so much because he’d have been perfect for a jockey. But Mr Keiller owned racing cars, and was involved with the speedway course near Wroughton, so Davey had his taste of speed working for him.
The great dark shape of the church loomed above the trees. Our footsteps rang on the frosty cobblestones Colonel Jenner had laid between his barns, which belonged to Mr Keiller now. In the colonel’s day there’d been Jersey cows, and pale creamy butter made at the Manor twice a week, which you could buy for a shilling a pound. Wasn’t many in the village could afford it, but we bought it for the guests. The livestock had all gone now. Mr Keiller didn’t bother with cattle and horses and hay. He’d decided to convert the building where the colonel stabled his polo ponies into a museum, to keep skelling-tons and bits of old pot, and he parked his cars in the barns, where the bats did their doings on them if Davey didn’t cover them over with tarpaulins.
In Colonel Jenner’s day we’d never have walked in the dark through the stableyard, and I didn’t feel right doing it now. But Davey had heard something special was happening at the Manor, some sort of party that was more than a few posh people coming for dinner.
‘What kind of a party?’ I asked.
‘There’s a spiritualist down from London. Mrs Oliver.’
‘Hoping to catch sight of the White Lady, is she? She’d do better hanging round the Red Lion looking for Florrie.’
‘Florrie only comes out for men with beards.’
They was our local ghosts. Florrie got thrown into the well at the pub when her husband caught her with her Cavalier lover. There was some likewise tale about the White Lady, and a powerful scent of roses wafting along with her, but don’t tell me they come back because I never seen anything like them, nor expect anyone else would if they hadn’t downed a few pints of Mr Lawes’s best beer.
‘They’ve never got one of those ouija whatsits?’
‘It’s not ghosts they’re after. Miss Chapman says Mrs Oliver wants to help them find buried stones. Mr Keiller thinks there’s some under the ground that was never broken up.’
How educated people can be so outright stupid is beyond me. Mr Keiller was as clever as they come, but he’d invite an old phoney in a floaty dress to sit at his dinner-table. Or maybe she wasn’t so old. There was rumours Miss Doris Chapman, his official artist, was going to be the third Mrs K, but that wouldn’t have stopped him giving the eye to another good-looking woman.
‘They in’t looking for stones tonight? In the pitch dark?’
‘How would I know?’
We came round the corner of the stable block to the wrought-iron gate of the Manor garden. All the downstairs windows of the house was lit up, and we could hear music. Not one of Mam’s dance bands but heavy thudding like I imagined jungle drums would sound.
‘That’s Stravinsky.’ Davey surprised me. How come he knew who was making that racket? ‘Mr Keiller likes modern music’
‘Call that modern?’ I said. ‘Voodoo music, more like. Modern’s Jack Hylton or Billy Cotton. How do you know what Mr Keiller likes, anyway?’
But he never replied because at that moment the front door of the Manor opened and light splashed down the gravel path between the lavender beds. There was laughter mixed in with the music, then some shushing, and in the doorway was Mr Keiller himself.
‘Bloody hellfire,’ says Davey His hand squeezed my arm and hurt, though I don’t think he meant to. ‘What is he carrying?’
Mr Keiller was in his tails, white tie and all. Sometimes at night he’d wear his kilt, but tonight it was trousers and the real film-star look. They always dressed formal for dinner at the Manor. He was a tall man who filled the doorway bottom to top; no mistaking him, with his long elegant legs. There was a lamp over the door, but his face was in shadow because he had stopped under the lintel, waiting for everybody else to catch up. The light fell instead on the thing in his hands. He was holding it carefully, as if it was fragile, his arms held away from his body so the bottom of the thing was level with his chest and the top maybe an inch or two below his chin. Davey started to laugh, quietly in case they heard us, and I could feel his hands digging into my arms as he stood behind me, peering over the wall, his chin parting the back of my hair. I was glad it was dark because I could feel myself going red: oh, I knew what Mr Keiller was carrying, all right. Davey’s breath was hot on my ear, and he was awful close behind me, and I could feel the same kind of thing that Mr Keiller had in his hands butting at my back through our clothes.
Mr Keiller steps forward, and the light falls on his high shiny forehead and his handsome rich man’s face that’s tanned but not weathered. He’s got a long, straight nose and a strong, wide mouth and a full head of hair, never mind that he’s in his forties. The thing falls into shadow and I’m happy about that–what would Mam think?–though something makes me want to see it again, something to do with Davey’s breath that’s a bit faster than it ought to be when we’re standing still.
Out of the door behind Mr Keiller come a couple of ladies, carrying cocktail glasses, so maybe they hadn’t even started dinner yet, never mind it was gone half past nine. Miss Chapman was one of them, in a long silky dress with a wrap the same pale shade round her shoulders. Moonlight had stolen all the colours. As she walked under the lamp she was trying to look serious, like him, but I could see she wanted to giggle. The other was a middle-aged lady in flouncy stuff and a white fur stole, who could’ve been Mrs Oliver. Her face was a mask under too much powder. Behind them were three or four men, and two more ladies. One stumbled as she stepped onto the path, and the other shouted, ‘Alec, darling, your cocktails have malicious potency!’ I recognized them as the people staying at our guesthouse, and all of them carried candles, long white tapers that sent flickering light along the gravel path. They milled about under the trees, waiting for Mr Keiller to take the lead. He stood a little apart, the white thing cradled in the crook of one arm. One of the other ladies came up to him, and as they chatted, I saw his free hand steal casual like round her back, where Miss Chapman and the other guests couldn’t see, and rub her bottom.
We’d been watchers all our short lives, Davey and I: people who waited on tables and polished cars and cleared up after rich people. But when it came down to it, the only difference was they had more money. In the moonlight, drunk, they acted silly as any fool. That younger man at the back, with hair that flopped over his eyes and a cigarette in his hand, sauntering about like he owned the place, he was one of the archaeologists–I’d seen him in the fields with a notebook and a measuring tape. I wanted to be following them, a pale ghost in my own silky dress. All you had to do was believe you deserved to be among them, and act ridickerlus as they did.
The heavy Manor door shut with a thud and coming out of the porch was Mrs Sorel-Taylour, the short, buxom lady that was Mr Keiller’s secretary, keeping her distance to make sure nobody thought she was so daft as the rest. She was carrying a torch instead of a candle.
Mr Keiller raised the gurt white pizzle up high–had to call it that, didn’t know any other word for it, then, and right enough it was near as big as a bull’s or a stallion’s. Moonlight poured down on it, making it look like bewitched silver. Everybody bowed to it. Davey pulled me back into the shadow of the stable wall, in case they came our way, but there was no need because Mr K led them instead round the corner of the house into the more private bit of the garden where we couldn’t see what they was up to.
‘Whew,’ said Davey softly. ‘What do you think they’re going to do there?’
I didn’t want to think about it, but I did think about it, and Davey’s fingers on my arms. And Mr Keiller’s face too, solemn like it was carved out of stone, holding up the thing made of glimmering chalk like the high Downs. For all that what we’d seen was silly, it stirred something else in me, something I couldn’t explain. Magic, some of it to do with floaty dresses and film stars, but some of it the old sort of magic. The sort that makes me feel cold now, makes me need to feel warm again, but there in’t no fire that’ll warm that kind of cold once you have it in your bones.
‘Mad as hares,’ I said. ‘Maybe that medium lady’s going to raise the dead to ask ‘em where they put them stones.’
‘More’n the dead they’ve raised,’ said Davey, sliding himself against my back, all accidental-like. ‘We in’t going to see any more tonight.’
‘Don’t think that means you’ll get a cuddle,’ I said. But something had stirred in me, too, and I didn’t understand what it was.
CHAPTER 7 (#ulink_c1b07bda-b68f-5f69-9d46-c6a17bf915c8)
As the sun starts to sink towards the dykes on Wednesday afternoon, the car park of the Red Lion is already filling, several cars displaying blue disabled badges. Wednesday is biker’s night at the pub, but the Harleys and Beamers won’t roar into the village until later. The public meeting to show the 1938 cine footage has been timed to lure out older people before dark, but Frannie showed no enthusiasm for coming along, though it was filmed during the years she grew up in Avebury. Despite my best efforts to persuade her, I left her at home in her slippers, settled in front of the TV with a pot of tea and a packet of gingernuts.
The letter I found down the side of her armchair has been bothering me all week. It looked like it’d been there a long, long time–possibly since right after she moved back to Avebury, four years ago. I don’t know how to raise the subject with her: she’ll accuse me of prying again, and maybe get upset, the way she did when I was trying to find out more about Davey Fergusson.
Close to the door of the pub, a black 4×4 has drawn up, an orange and white logo on the side: Overview TV. My heartbeat begins to quicken. A woman in a maroon suede jacket and a black polo-neck is unloading a cardboard box from the tailgate, and I follow her in.
Every time I come into the Red Lion, breathing in a comforting smell of beer and cigs and chips, I remind myself that this is where it all began, the renaissance of Avebury, in the inn at the heart of the circle. It’s 1934 or thereabouts. The Marmalade King has, as usual, booked every room in the pub for his staff, and is digging the West Kennet Avenue. Late one night Stuart Piggott is woken by AK hammering on the door of his room. He bursts in like a force of nature. I know what I have to do, he announces–it’s always a have to with AK, always an announcement–I’m going to buy up the whole village. I imagine him lighting a cigarette, pacing up and down Piggott’s room, ignoring the startled archaeologist in the bed and staring through the walls to the dark landscape beyond. Yes, he says, I’ll buy up as much of the place as I can and devote my life to the study of Avebury.
This afternoon the tables in the snug have been rearranged, with chairs facing a screen set up on the far wall. Almost every seat is filled, and the curtains have been drawn, though it’s not yet dark. A young man with deep-set, intense eyes is standing behind a TV camera on a tall tripod, panning round the room and filming people at the tables. They nudge each other and whisper every time they catch the lens pointing their way–no doubt why the cameraman’s jaw is clenched with frustration.
At the back of the room is a long table with a reserved sign. The woman in the suede jacket has set down the cardboard box and is laying out DVDs in neat piles. She glances at me and smiles, as if she knows me, but it’s the professional smile of the TV person, warm and inclusive and utterly meaningless.
‘Hello, girl,’ says a voice beside me, and there’s John, at a table by himself, with a pint at his elbow and the usual scrawny rollup smouldering in the ashtray. ‘Orright? Come and park yourself with me.’
I sit down, checking to make sure I won’t obstruct anyone’s view of the screen, since I’m half a head taller than most women in the room. ‘Didn’t think you’d be here.’
‘Couldn’t miss a chance to appear on the telly.’
‘They aren’t going to be interested in you,’ I say, watching where the dark-eyed young man is pointing his camera. ‘They want people like the Rawlins brothers, who are in the film. You going to spin them your idea about a northern avenue?’ Not that I believe for a second that John’s enthusiasm for dowsing is likely to reveal the archaeological discovery of the decade.
He shakes his head. ‘Get your mates at the National Trust to take the idea seriously and do a full geophysical survey’
‘On the say-so of a mad old hippie with a pair of bent coat-hangers?’
‘You’ll be laughing the other side of your face when I make the cover of British Archaeology! He takes a mouthful of his pint, and tucks back a strand of greying hair that has escaped his ponytail. In 1982 he had short hair and a rifle that killed an Argentinian in the Falklands. ‘No point, though, in pitching it to this TV crew. They’re only interested in Keiller.’
‘You don’t know that.’
‘Don’t be nave, Indy–you used to work in the business. Telly people get an idea in their heads, that’s the programme they make, never mind the truth. They’ll turn him into a bloody archaeological saint.’
‘Well, he was, wasn’t he, as far as Avebury’s concerned?’
John snorts. ‘Archaeological Satan, more like. He’s the reason you didn’t grow up in a posh house in the village.’
‘You make it sound like it was personal,’ I say. ‘He was only…’
‘Trying to achieve a vision? So was Hitler, round about the same time.’
The camera fixes its cold fishy eye on us, but only for a moment. The cameraman has decided we’re the wrong age to be interesting tonight. Instead the lens settles on Carrie Harper, chair-to-the-parish-council (all said quickly on one breath so you won’t mistake her for something that can be bought in Ikea), resplendent in orange cable knit and a pair of flared jersey trousers that probably date from her heyday in the seventies. But the rustles and whispers have reached a pitch: a man with white hair strides to the front, by the big plasma screen that’s usually for the football. He waves the remote control at us, like a conductor’s baton, and the room falls silent.
‘Welcome,’ he says. ‘We’re going to show you a film. I could tell you what it’s about, but I think most of you know far better than I do.’ The oldies laugh; go on, Mister, flatter us, we like that. ‘It was found at the back of a wardrobe, six months ago, and eventually ended up at my production company for cleaning and transfer to DVD.’ He looks round, taking in their rapt faces, and smiles, a broad grin, directed at them but also at the camera with its pulsing red light. ‘It’s rather special, because it’s a record of the way this village was in the late 1930s. Some of you are in it, and that would be interesting enough in itself. But, more importantly, it opens a window on a critical year for archaeology.’
John turns and winks at me.
‘Nineteen thirty-eight. A year in which Avebury was transformed by the man we’ll see on this footage. We’re going to film you as you watch it, as part of a documentary we’re hoping to sell to Channel 4 or the BBC. Everyone happy?’ Nods and grunts, presumably enough to count for assent. ‘Right. Let’s run it.’ He raises the remote and presses play.
White scratchy lines flicker over a black background. A square of light appears, not quite filling the screen. I’ve been expecting one of those countdowns you see on old cine film, 5-4-3-2-1, or at least a clock with a sweeping second hand, but the picture’s there immediately, and Percy Lawes himself swaggers up to the camera, Jack-the-lad puffing on his cigarette with a knowing smile, enjoying his Hitchcock moment. Frannie remembers him: he figures in her stories of the old days. He was the son of the landlord of the Red Lion, thought himself a bit smarter than the rest, with his little hat and his cine-camera. He went off to Calne or Chippenham or somewhere like that to be a piano teacher, then died a bachelor, and his films would have died with him, except his nephew was curious about the contents of the battered film cans he discovered while clearing his uncle’s effects. On the screen Percy doffs his hat, as if he knows we’re going to be watching in his dad’s old pub nearly seventy years later.
The picture jumps and there’s the village street, not the same as today but recognizable. A dozen or so kids come running up the lane, right up to the camera, laughing. All the people in the audience break out talking and nudging each other, all these old people who are seeing themselves suddenly as they were then. There’s one old lady crying, and in the flickering TV light I can make out in the audience’s faces some of the same features that show on the screen, blurred now with age, plump rosy cheeks that have slipped like melting Christmas candles down their faces, eyes that are clear in then milky now with cataracts.
It’s the little kids who are crowding close to Percy’s camera, but behind them a few older ones hang back, giggling. Could that be Frannie, her hand over her mouth to hide her grin, with a bobbed hairstyle like the Queen wore when she was a princess? Too late, the scene’s changed, racehorses being walked out along the high street to the Gallops, long-gone Classic winners whose bones now moulder under the downland.
Now heavy horses, pulling the haywains, and men in cloth caps pitchforking hay onto the ricks. It’s in black-and-white, but Percy Lawes was good with that cine-camera, knew how to use the light. No sound, but you can see the men laughing and joking with one another, easy with their work even though they were being filmed. Suddenly that’s gone too, and we’re inside the stone circle, watching a massive stone with ropes and pulleys wrapped round it, and men with crowbars heaving and tugging to get it upright.
And there he is, sitting on a camp stool, sketching or writing up his notes, it’s hard to make out which. The man himself. AK, Alexander Keiller, who moved into the Manor House in 1937 to reshape Avebury. He’s wearing a Panama hat and a blazer, all long elegant legs and knees and elbows on the tiny stool, working on his pad, not bothering to acknowledge the camera, as arrogant and insouciant as an old-time squire. The smile lifting the corners of his mouth–he knows he’s being filmed–is familiar. Where the hell have I seen those features and that expression before?
No. It can’t be. But it is: the smile on the poster at the back of Frannie’s wardrobe, the smile Margaret used to wear when she knew someone was photographing her. She was tall and beautiful and kind of arrogant as well, with her strong nose and high forehead. At Greenham, journalists made a beeline for her, and when she danced naked on top of the trilithons at Stonehenge, one midsummer dawn, tossing her long thick hair and with that exact same smile on her mouth, someone snapped it and turned it into a poster. They never comes back, that’s for sure.
But maybe that smile did. The thought explodes like a firework in my head, though it isn’t so much a revelation as the confirmation of an idea that’s been quietly creeping up on me over the last few days.
It explains the letter tucked down the side of Frannie’s armchair. Might even be the reason she didn’t want to come this evening. Most crucially, it makes sense of the date on my so-called grandfather’s headstone, of Frannie’s reluctance to talk about him. Because if David Fergusson wasn’t my grandfather, who was?
Next to me, John leans across and stubs out his rollie, and the sweet tarry scent of grass comes bursting up from the ashtray.
I touch his arm and whisper so no one else will hear.
John frowns and shakes his head. ‘You have to be wrong, Indy,’ he whispers back. ‘That’s never in a million years your grandad.’
After the film, the white-haired man tells us to have a break and more drinks before they start the discussion proper. Everyone in the room is a bit red-eyed, including John, only in his case it’s the weed. Even the TV woman blows her nose. The camera sweeps the room, relentlessly prying into then, all the weepy conversations that have broken out as people remember their childhood and how England used to be before supermarkets and television and tractors.
‘I’m going,’ says John, unexpectedly, picking up his lighter and tobacco pouch.
‘Won’t you stay?’ I was fizzing, but now I’ve gone flat. He’s probably right. It’s impossible Keiller and Frannie had any relationship. Or, if not impossible, highly unlikely: wrong age, wrong class. I’ve let myself be carried away by some old biddy’s poison-pen letter, hinting at scandal, but what was going on at the Manor could mean anything. It might not even relate to the time Keiller lived there.
‘You don’t want me cramping your style when you chat up telly people.’ John stands up, squeezes my shoulder. ‘You need a massage.’ And he’s gone, limping through the tables, his narrow bony back the full stop it’s always been at the end of our conversations.
I take a sip of his unfinished pint, glancing round the pub again. There will be people here who knew Fran when she was a girl. Unfortunately, most of them were probably too young to have picked up the gossip of the day. Still, someone sent that letter, and he or she could be in this room. Although I know John’s right, really, there’s no way Keiller could have been my grandfather, I can’t help spinning the idea round. That smile…so exactly Margaret’s, I’m amazed John couldn’t see it. I cremated all my photographs of my mother–part of my sad Goth phase again–but Fran has a little one, in her bedroom, of Margaret in her teens, with white lipstick and three layers of false eyelashes. Maybe she keeps others, too, locked away in the bureau.
You know, Ind, one day you might regret that, said Fran on the day I burned my mother’s things. Never get ‘em back, that’s for sure. Then she stumped away to the garden shed to fetch the rake, and spread the ashes of the bonfire across the flowerbed.
I’m heading for the loo, admiring the dark-eyed cameraman’s profile as he tips back his head to swallow the last of his lager, when the TV woman and I nearly collide in the doorway.
‘Sorry,’ she says.
‘My fault, not looking where I’m going.’ We both stand back to let the other through first, then, when neither moves, step forward simultaneously.
‘You first.’
‘No, you. There’s more than one cubicle in there, anyway.’
Of course, when we go in, they’re both occupied. A sickly manufactured scent of rose pot-pourri hangs in the air, and a volley of old-lady farts comes from behind one of the doors. We exchange smiles.
There’s never going to be a better moment.
‘This programme you’re doing…’
‘If it gets commissioned. Not always a given, these days.’
‘Would you be interested in an idea for it?’
This look comes over her face, the one that says she’s had a million people offer her ideas and only two and a half have ever been remotely any good. It’s replaced immediately by a polite, bland mask. ‘Try me.’
‘Next spring’s the seventieth anniversary of Keiller starting work in the circle.’ I’m gabbling to spew it all out fast before one of the toilet doors opens. ‘I understand about commissioning, I’ve worked for Mannix and other TV companies–’ (go on, India, tell a really big lie about your qualifications to keep her listening, and hope your nose doesn’t grow to give it away) ‘–and I did a master’s at Bristol University in archaeology and media, with my thesis on Keiller’s work. Only he never finished–you’ll know this. He never managed to reconstruct the whole circle.’
‘Uh-huh.’ She’s interested now, I can tell–in fact I’ve a feeling she could be way ahead of me.
‘So I thought…’
‘You want to finish the job for him and put up the rest of the stones.’
‘Well, no, not actually all the stones.’ I’m explaining now in the bar. My bladder aches because I never did get round to that pee. The TV woman marched me straight out and collared the white-haired man, who was talking to Carrie Harper over by the windows.
‘Daniel, you’ve got to hear this.’
‘Ibby, I’m talking to someone.’ Rude to her, though he was schmoozing Carrie like she was lady of the Manor.
