night â my weeknight off â and we would meet up for a drink.
We never discussed his family. He made no complaints about his wifeâs failure to understand him, as adulterers are widely believed to do. In fact he made it clear that he was not prepared to take any risks that might cause her suspicion or pain. âYou know Iâll never leave my wife,â he said, right at the outset, to which I replied, âIâll never leave my brother,â and we laughed out loud, to find ourselves in such perfect accord.
Since Rowena told the other girls that I am an âArtistâ they have stopped calling me Sad to my face. I canât see the logic of this: some of my favourite artists were famously sad: Van Gogh, Dora Carrington, Mark Rothko . . . Rowena herself keeps badgering me to do some freelance (and, I suspect, free) artwork for the restaurant, principally a giant mural of the Italian Riviera on the back wall. Iâve tried explaining that Iâm a miniaturist: I donât do big pictures. Itâs detail thatâs my thing.
She was on about it again that night, while I was in the staff loo, struggling into my waitress costume, which was slightly crushed from having spent the day in a plastic bag in my car boot. Sheâs one of those people who doesnât find a toilet door any barrier to conversation.
âYou could do it the week weâre away,â she was saying while I buttoned my shirt and peered at my face in the mirror, which was lit by a single, flickering neon strip. âThe paint smell would have gone by the time we reopen.â
âHave you got a coat hanger?â I interrupted. My green linen suit was hitched over a hook on the door like a giant tea-towel, and I didnât want anyone drying their hands on it. I heard her footsteps retreat and then advance and a wire hanger was thrust under the door.
âIâve got a teacher friend who could lend you an overhead projector,â she went on, undeflected. âIf thatâs how you do it.â
âMmm,â I grunted, dabbing face powder over the remains of that morningâs foundation. The gold compact was my motherâs, and my grandmotherâs before that. It had a particular smell, sweet and cloying, like the inside of an old ladyâs handbag. All at once I could see mumâs dressing table backat the Old Schoolhouse, with its set of tortoiseshell brushes and her few cosmetics, so infrequently and inexpertly applied.
âWeâve got to do something about that light,â I said as I emerged, zipping up my skirt. âIt adds on about ten years.â
âI think Iâll just take down the mirror,â said Rowena. âUntil this frizz grows out.â She was recovering from one of those deep-fried perms, which had reacted badly with her previous regime of bleach and colour, to leave her hair as brittle as spun sugar. It looked as though it might melt in the rain.
âListen. Have you ever got back in contact with someone after a long silence?â I asked her.
She put her head on one side to consider, happy to abandon the matter of the mural. She is used to my strategy of refusing to engage with topics that donât appeal.
âNo, I canât say I have,â she said finally. âI think Iâm probably still in contact with everyone Iâve ever known, apart from my ex-husbands, I mean. I sort of collect people.â
âWell, I seem to mislay them,â I said, as we made our way upstairs to the restaurant. I explained about coming across Cassie. âSo whatâs the best way of tracing an address?â
âYou could get her number from Directory Enquiries, if her surname isnât too common.â
âIâm not sure I want to phone in the first instance. Iâd rather write.â
Rowena chewed her lip. âDo you know anyone corruptible who works for the police or the DVLA?â
I raised my eyebrows. âI
Yvette Hines, Monique Lamont