by Clive Barker
With hey, ho, the wind and the rain,
But that’s all one, our play is done
And we’ll strive to please you every day.’
The scene darkened to blackout, and the curtain descended. From the gods rapturous applause erupted, that same rattling, hollow applause. The company, their faces shining with the success of the Dress Rehearsal, formed behind the curtain for the bow. The curtain rose:
the applause mounted.
In the wings, Galloway joined Lichfield. He was dressed now: and he’d washed the blood off his neck.
‘Well, we have a brilliant success,’ said the skull. ‘It does seem a pity that this company should be dissolved so soon.’
‘It does,’ said the corpse.
The actors were shouting into the wings now, calling for Galloway to join them. They were applauding him, encouraging him to show his face.
He put a hand on Lichfield’s shoulder.
‘We’ll go together, sir,’ he said.
‘No, no, I couldn’t.’
‘You must. It’s your triumph as much as mine.’ Lichfield nodded, and they went out together to take their bows beside the company.
In the wings Tallulah was at work. She felt restored after her sleep in the Green Room. So much unpleasantness had gone, taken with her life. She no longer suffered the aches in her hip, or the creeping neuralgia in her scalp. There was no longer the necessity to draw breath through pipes encrusted with seventy years’ muck, or to rub the backs of her hands to get the circulation going; not even the need to blink. She laid the fires with a new strength, pressing the detritus of past productions into use: old backdrops, props, costuming. When she had enough combustibles heaped, she struck a match and set the flame to them. The Elysium began to burn.
Over the applause, somebody was shouting:
‘Marvellous, sweethearts, marvellous.’ It was Diane’s voice, they all recognized it even though they couldn’t quite see her. She was staggering down the centre aisle towards the stage, making quite a fool of herself.
Silly bitch,’ said Eddie.
Whoops,’ said Galloway.
he was at the edge of the stage now, haranguing him.
Got all you wanted now, have you? This your new lady-love is it? Is it?’
he was trying to clamber up, her hands gripping the hot metal hoods of the footlights. Her skin began to singe: the fat was well and truly in the fire.
For God’s sake, somebody stop her,’ said Eddie. But she didn’t seem to feel the searing of her hands; she just laughed in his face. The smell of burning flesh wafted up from the footlights. The company broke rank, triumph forgotten.
Somebody yelled: ‘Kill the lights!’
A beat, and then the stage lights were extinguished. Diane fell back, her hands smoking. One of the cast fainted, another ran into the wings to be sick. Somewhere behind them, they could hear the faint crackle of flames, but they had other calls on their attention.
With the footlights gone, they could see the auditorium more clearly. The stalls were empty, but the Balcony and the gods were full to bursting with eager admirers. Every row was packed, and every available inch of aisle space thronged with audience. Somebody up there started clapping again, alone for a few moments before the wave of applause began afresh. But now few of the company took pride in it.
Even from the stage, even with exhausted and light- dazzled eyes, it was obvious that no man, woman or child in that adoring crowd was alive. They waved fine silk handkerchiefs at the players in rotted fists, some of them beat a tattoo on the seats in front of them, most just clapped, bone on bone.
Galloway smiled, bowed deeply, and received their admiration with gratitude. In all his fifteen years of work in the theatre he had never found an audience so appreciative.
Bathing in the love of their admirers, Constantia and Richard Lichfield joined hands and walked down-stage to take another bow, while the living actors retreated in horror.
They began to yell and pray, they let out howls, they ran about like discovered adulterers in a farce. But, like the farce, there was no way out of the situation. There were bright flames tickling the roof-joists, and billows of canvas cascaded down to right and left as the flies caught fire. In front, the dead: behind, death. Smoke was beginning to thicken the air, it was impossible to see where one was going. Somebody was wearing a toga of burning canvas, and reciting screams. Someone else was wielding a fire extinguisher against the inferno. All useless: all tired business, badly managed. As the roof began to give, lethal falls of timber and girder silenced most.
In the Gods, the audience had more or less departed. They were ambling back to their graves long before the fire department appeared, their cerements and their faces lit by the glow of the fire as they glanced over their shoulders to watch the Elysium perish. It had been a fine show, and they were happy to go home, content for another while to gossip in the dark.
The fire burned through the night, despite the never less than gallant efforts of the fire department to put it out. By four in the morning the fight was given up as lost, and the conflagration allowed its head. It had done with the Elysium by dawn. In the ruins the remains of several persons were dis-covered, most of the bodies in states that defied easy identification. Dental records were consulted, and one corpse was found to be that of Giles Hammersmith (Administrator), another that of Ryan Xavier (Stage Man-ager) and, most shockingly, a third that of Diane Duvall. ‘Star of The Love Child burned to death’, read the tabloids. She was forgotten in a week.
There were no survivors. Several bodies were simply never found.
They stood at the side of the motorway, and watched the cars careering through the night. Lichfield was there of course, and Constantia, radiant as ever. Galloway had chosen to go with them, so had Eddie, and Tallulah. Three or four others had also joined the troupe.
It was the first night of their freedom, and here they were on the open road, travelling players. The smoke alone had killed Eddie, but there were a few more serious injuries amongst their number, sustained in the fire. Burned bodies, broken limbs. But the audience they would play for in the future would forgive them their pretty mutilations.
‘There are lives lived for love,’ said Lichfield to his new company, ‘and lives lived for art. We happy band have chosen the latter persuasion.’
‘There was a ripple of applause amongst the actors.
‘To you, who have never died, may I say: welcome to the world!’
Laughter: further applause.
The lights of the cars racing north along the motorway threw the company into silhouette. They looked, to all intents and purposes, like living men and women. But then wasn’t that the trick of their craft? To imitate life so well the illusion was indistinguishable from the real thing? And their new public, awaiting them in mortuaries, churchyards and chapels of rest, would appreciate the skill more than most. Who better to applaud the sham of passion and pain they would perform than the dead, who had experienced such feelings, and thrown them off at last?
The dead. They needed entertainment no less than the living; and they were a sorely neglected market.
Not that this company would perform for money, they would play for the love of their art, Lichfield had made that clear from the outset. No more service would be done to Apollo.
‘Now,’ he said, ‘which road shall we take, north or south?’
‘North,’ said Eddie. ‘My mother’s buried in Glasgow, she died before I ever played professionally. I’d like her to see me.’
‘North it is, then,’ said Lichfield. ‘Shall we go and find ourselves some transport?’
He led the way towards the motorway restaurant, its neon flickering fitfully, keeping the night at light’s length. The colours were theatrically bright: scarlet, lime, cobalt, and a wash of white that splashed out of the windows on to the car park where they stood. The automatic doors hissed as a traveller emerged, bearing gifts of hamburgers and cake to the child in the back of his
car.
‘Surely some friendly driver will find a niche for us,’ said Lichfield.
‘All of us?’ said Galloway.
‘A truck will do; beggars can’t be too demanding,’ said Lichfield. ‘And we are beggars now: subject to the whim of our patrons.’
‘We can always steal a car,’ said Tallulah.
‘No need for theft, except in extremity,’ Lichfield said. ‘Constantia and I will go ahead and find a chauffeur.’ He took his wife’s hand.
‘Nobody refuses beauty,’ he said.
‘What do we do if anyone asks us what we’re doing here?’ asked Eddie nervously. He wasn’t used to this role; he needed reassurance.
Lichfield turned towards the company, his voice boom-ing in the night:
‘What do you do?’ he said, ‘Play life, of course! And smile!’
IN THE HILLS, THE CITIES
IT WASN’T UNTIL the first week of the Yugoslavian trip that Mick discovered what a political bigot he’d chosen as a lover. Certainly, he’d been warned. One of the queens at the Baths had told him Judd was to the Right of Attila the Hun, but the man had been one of Judd’s ex-affairs, and Mick had presumed there was more spite than perception in the character assassination.
If only he’d listened. Then he wouldn’t be driving along an interminable road in a Volkswagen that suddenly seemed the size of a coffin, listening to Judd’s views on Soviet expansionism. Jesus, he was so boring. He didn’t converse, he lectured, and endlessly. In Italy the sermon had been on the way the Communists had exploited the peasant vote. Now, in Yugoslavia, Judd had really warmed to his theme, and Mick was just about ready to take a hammer to his self-opinionated head.
It wasn’t that he disagreed with everything Judd said. Some of the arguments (the ones Mick understood) seemed quite sensible. But then, what did he know? He was a dance teacher. Judd was a journalist, a professional pundit. He felt, like most journalists Mick had encountered, that he was obliged to have an opinion on everything under the sun. Especially politics; that was the best trough to wallow in. You could get your snout, eyes, head and front hooves in that mess of muck and have a fine old time splashing around. It was an inexhaustible subject to devour, a swill with a little of everything in it, because everything, according to Judd, was political. The arts were political. Sex was political. Religion, commerce, gardening, eating, drinking and farting — all political.
Jesus, it was mind-blowingly boring; killingly, love -deadeningly boring.
Worse still, Judd didn’t seem to notice how bored Mick had become, or if he noticed, he didn’t care. He just rambled on, his arguments getting windier and windier, his sentences lengthening with every mile they drove.
Judd, Mick had decided, was a selfish bastard, and as soon as their honeymoon was over he’d part with the guy.
It was not until their trip, that endless, motiveless caravan through the graveyards of mid-European culture, that Judd realized what a political lightweight he had in Mick. The guy showed precious little interest in the economics or the politics of the countries they passed through. He registered indifference to the full facts behind the Italian situation, and yawned, yes, yawned when he tried (and failed) to debate the Russian threat to world peace. He had to face the bitter truth: Mick was a queen; there was no other word for him. All right, perhaps he didn’t mince or wear jewellery to excess, but he was a queen nevertheless, happy to wallow in a dream-world of early Renaissance frescoes and Yugoslavian icons. The complexities, the contradictions, even the agonies that made those cultures blossom and wither were just tiresome to him. His mind was no deeper than his looks; he was a well-groomed nobody.
Some honeymoon.
The road south from Belgrade to Novi Pazar was, by Yugoslavian standards, a good one. There were fewer pot-holes than on many of the roads they’d travelled, and it was relatively straight. The town of Novi Pazar lay in the valley of the River Raska, south of the city named after the river. It wasn’t an area particularly popular with the tourists. Despite the good road it was still inaccessible, and lacked sophisticated amenities; but Mick was determined to see the monastery at Sopocani, to the west of the town and after some bitter argument, he’d won.
The journey had proved uninspiring. On either side of the road the cultivated fields looked parched and dusty. The summer had been unusually hot, and droughts were affecting many of the villages. Crops had failed, and livestock had been prematurely slaughtered to prevent them dying of malnutrition. There was a defeated look about the few faces they glimpsed at the roadside. Even the children had dour expressions; brows as heavy as the stale heat that hung over the valley.
Now, with the cards on the table after a row at Belgrade, they drove in silence most of the time; but the straight road, like most straight roads, invited dispute. When the driving was easy, the mind rooted for something to keep it engaged. What better than a fight?
‘Why the hell do you want to see this damn monastery?’ Judd demanded.
It was an unmistakable invitation.
‘We’ve come all this way ...‘ Mick tried to keep the tone conversational. He wasn’t in the mood for an argument.
‘More fucking Virgins, is it?’ Keeping his voice as even as he could, Mick picked up the Guide and read aloud from it… ‘there, some of the greatest works of Serbian painting can still be seen and enjoyed, including what many commentators agree to be the enduring masterpiece of the Raska school: “The Dormition of the Virgin.”’
Silence.
Then Judd: ‘I’m up to here with churches.’
‘It’s a masterpiece.’
‘They’re all masterpieces according to that bloody book.’
Mick felt his control slipping.
‘Two and a half hours at most —, ‘I told you, I don’t want to see another church; the smell of the places makes me sick. Stale incense, old sweat and lies...’
‘It’s a short detour; then we can get back on to the road and you can give me another lecture on farming subsidies in the Sandzak.’
‘I’m just trying to get some decent conversation going instead of this endless tripe about Serbian fucking mas-terpieces —,
‘Stop the car!’
‘What?’
‘Stop the car!’
Judd pulled the Volkswagen into the side of the road. Mick got out.
The road was hot, but there was a slight breeze. He took a deep breath, and wandered into the middle of the road. Empty of traffic and of pedestrians in both directions. In every direction, empty. The hills shimmered in the heat off the fields. There were wild poppies growing in the ditches. Mick crossed the road, squatted on his haunches and picked one.
Behind him he heard the VW’s door slam. ‘What did you stop us for?’ Judd said. His voice was edgy, still hoping for that argument, begging for it.
Mick stood up, playing with the poppy. It was close to seeding, late in the season. The petals fell from the receptacle as soon as he touched them, little splashes of red fluttering down on to the grey tarmac.
‘I asked you a question,’ Judd said again.
Mick looked round. Judd was standing the far side of the car, his brows a knitted line of burgeoning anger. But handsome; oh yes; a face that made women weep with frustration that he was gay. A heavy black moustache (perfectly trimmed) and eyes you could watch forever, and never see the same light in them twice. Why in God’s name, thought Mick, does a man as fine as that have to be such an insensitive little shit?
Judd returned the look of contemptuous appraisal, staring at the pouting pretty boy across the road. It made him want to puke, seeing the little act Mick was performing for his benefit. It might just have been plausible in a sixteen-year-old virgin. In a twenty-five-year-old, it lacked credibility.
Mick dropped the flower, and untucked his T-shirt from his jeans. A tight stomach, then a slim, smooth chest were revealed as he pulled it off. His hair was ruffled when his head re-appeared, and his face wore a broad grin. Judd looked at the torso. Neat,
not too muscular. An appendix scar peering over his faded jeans. A gold chain, small but catching the sun, dipped in the hollow of his throat. Without meaning to, he returned Mick’s grin, and a kind of peace was made between them.
Mick was unbuckling his belt.
‘Want to fuck?’ he said, the grin not faltering.
‘It’s no use,’ came an answer, though not to that question.
‘What isn’t?’ ‘We’re not compatible.’
‘Want a bet?’
Now he was unzipped, and turning away towards the wheat-field that bordered the road.
Judd watched as Mick cut a swathe through the swaying sea, his back the colour of the grain, so that he was almost camouflaged by it. It was a dangerous game, screwing in the open air — this wasn’t San Francisco, or even Hampstead Heath. Nervously, Judd glanced along the road. Still empty in both directions. And Mick was turning, deep in the field, turning and smiling and waving like a swimmer buoyed up in a golden surf. What the hell there was nobody to see, nobody to know. Just the hills, liquid in the heat-haze, their forested backs bent to the business of the earth, and a lost dog, sitting at the edge of the road, waiting for some lost master.
Judd followed Mick’s path through the wheat, unbut-toning his shirt as he walked. Field-mice ran ahead of him, scurrying through the stalks as the giant came their way, his feet like thunder. Judd saw their panic, and smiled. He meant no harm to them, but then how were they to know that? Maybe he’d put out a hundred lives, mice, beetles, worms, before he reached the spot where Mick was lying, stark bollock naked, on a bed of trampled grain, still grinning.
It was good love they made, good, strong love, equal in pleasure for both; there was a precision to their passion, sensing the moment when effortless delight became urgent, when desire became necessity. They locked together, limb around limb, tongue around tongue, in a knot only orgasm could untie, their backs alternately scorched and scratched as they rolled around exchanging blows and kisses. In the thick of it, creaming together, they heard the phut-phut-phut of a tractor passing by; but they were past caring. They made their way back to the Volkswagen with body-threshed wheat in their hair and their ears, in their socks and between their toes. Their grins had been replaced with easy smiles: the truce, if not permanent, would last a few hours at least.
