‘Be careful’ says Eileen.
I’m perched on a window ledge, holding onto the upper lip of the
frame whilst I struggle to reach inside with a long piece of wire and flip the
window catch. Even though finally it bounces up, I can’t open the window any
further because it turns out the metal arm has been fitted with a security
bolt.
‘It’s no good’ I say, throwing the wire behind me then lowering
myself back down onto the bin I’d dragged there. ‘Let’s have another look round
the back.’
‘Round the back?’ says Eileen. ‘Really?’
I know what she means. If the front garden was overgrown, the back is
impenetrable, brambles so vigorous they’ve shattered through the glass of the
conservatory and washed up against the back of the house in a great tsunami of
thorns and nettles.
The front door is a substantial frame of aluminium, secondary glazed
security glass, double locked and bolted on the inside. At least the back door
– if you ever managed to machete your way through to it – is a simple, single-panelled
affair.
Whilst we look around for tools that can help us through the thicket
of brambles, we can hear Eileen shouting through the letterbox.
‘George? They’re coming round the back,’ she says. ‘Won’t be long.’
There’s no reply, of course, nor has there been since we arrived.
All we can hear is the radio playing loudly somewhere deep inside the bungalow.
‘A bit deaf’ says Eileen. ‘But you’d normally get him to say something.’
We find a couple of rusted shovels and start beating our way through
to the back door. These brambles must be years old; the tendrils thicker than
any I’ve seen, great coiled trunks, tough as twisted razor wire..
‘It’s Sleeping Beauty all over again,’ says Rae, chopping and
hacking beside me. ‘Just remind me. How did that one end?’
We earn a little space to work. Rae finds a section of old ladder. I
rest that on the top of the brambles and walk across it like a precarious
bridge. Baskets and old boxes collapsing beneath me, but I make the back door.
It’s locked, of course, so leaning back a little I use the shovel to jab at the
glass which shatters inwards. Once I’ve used the edge of the shovel to level
out the remaining shards, I take hold either side, climb up, and drop inside.
The kitchen is comprehensively junked-up, a high-chair over by the
sink to my left with a tartan dressing gown thrown over it, boxes of stuff
stacked around, old notices tacked to the wall, piles of newspapers, the
bewildering mess of a hoarder. I pick my way out to the hallway, and unlock the
front door. I hear Rae coming round that way, so I go back to look for George.
The radio is playing behind a door on my right. I knock and push it
open.
‘Hello?’
A bedroom, with a messy, single bed surrounded by dark and anonymous
piles of junk.
I check the other side of the bed, but really there’s only just room
to climb out on the side nearest to me, so it doesn’t take long to reassure
myself that George isn’t there.
‘Hello? Ambulance.’
I turn off the radio and knock on a door immediately opposite.
Into a lounge, a corridor of space from the door to an easy chair
with a view of the television, but again, generously piled with junk. There are
bookcases along one wall with a quantity of antique books. Family portraits, a
cuckoo clock with the cuckoo rusted halfway out of its hatch. Dust on
everything. Silence, deeper for the radio being off now.
‘George?’
Rae joins me in the room.
‘Where the hell is he?’
‘The door was locked from the inside, though. He’s got to be here
somewhere.’
We go back out into the hall.
It crooks round to the bottom of a set of stairs, but we’d have trouble getting
to them, let alone an eighty-nine year old with mobility problems.
Rae looks in a cupboard.
‘George?’
‘He’s definitely not in the bedroom. Definitely not in the lounge. So
he MUST be in the kitchen. I’ll take another look.’
I go back to the kitchen, and stand in the doorway.
A stage magician would
understand why I missed him. They know all about the power of distraction, what
you can hide with the right amount of confusion, how you often see only what
you expect to see and nothing else. I’d been pumped-up with the difficult
entry. When I smashed the window and climbed through, all I saw was a place in a
mess. There was no body lying on the floor or in any of the other attitudes I’ve
come across in these situations. My next mission was to get to the front door,
open it, and then search the rest of the house as quickly as possible. I
started with the front room, where the radio was playing.
Standing back in the doorway of the kitchen, though, the truth of
the matter is like a blow to the stomach.
At some point George had been sitting on a high metal chair by the
sink, fetching himself a glass of water in the night, perhaps. He’d fallen head
first off the chair, hooking his leg in the frame of it. But the chair was so
braced with junk it didn’t topple over. Instead it held him upside down – and
worse, somehow his head had become jammed up to the chin in an empty plastic
bucket that was on the floor at his feet. He must have fainted soon after, or
presumably he’d have been able to free himself from the bucket. And then
asphyxiated. In short order – you would hope, anyway.
Picking my way over to him, I can see he’s been dead for a while. I
pull his tartan dressing gown back. His hands and arms are puce coloured,
stained with pooling blood.
Rae stands next to me.
‘Oh my god!’ she
says. ‘Poor George.’ And then: ‘Is that a bucket?’
5 comments:
Not a fairy tale ending. This one felt too real.
The very antithesis, I'm afraid, tpals! Poor George. A bit eccentric, but I got the impression he was very well liked. His neighbours did what they could - whilst respecting his right to live as he wanted.
Not good Spence.Not good at all.
I suspect Eileen may need a lot of therapy to deal with that one.Possibly you and Rae too.
Truly awful.
It's funny-- the detail about the tartan dressing gown thrown over the chair caught my attention during the first read through, and when you went back into the kitchen and saw what had really happened (before you get to the descriptive part), I was thinking, "Oh no… he's sitting in the chair, isn't he?"
Too bad the reality was more brutal. What an awful way to go. Poor guy.
Jack - We kept Eileen out of the kitchen so she didn't see, and we didn't let on the detail of the bucket, so hopefully that will have tempered the shock. A truly awful scene, though. Luckily we don't get too much of it!
Cass - I think one reason I didn't see him first time round was the extraordinary posture he was in. I don't think I've adequately described it - so unnatural you wouldn't think the human frame was capable. In retrospect I think his hip had dislocated, too, because I can't think how else he'd end up like that. I wondered if he'd emptied the bucket and been putting it down on the floor without getting off the high chair when he fell. Horrible.
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