Nicola Griffith - Always

“No cream.”

“No cream.”

People were flowing back in. Cool air eddied from the door and the ceiling. Once she had the coffee on, she got a can of soda from the fridge. Instead of popping it open, she ran it across her forehead and the inside of her wrists.

I laid my hand on hers. “Not the wrist.” Her hand was so small. “Lots of nerves in the wrist and the side of the neck. If you put something cold there for long enough, those nerves will send a message to the rest of the body saying, Hey, it’s cold out here, and all the peripheral blood vessels will close to preserve heat. Those blood vessels are what dissipate heat. So if they close, you won’t cool down. Here.” She let me take the can. I ran it slowly down the outside of her arms, smearing condensation over her smooth skin. I took her hands, one by one, rubbed the can over the backs then palms, tilted her chin, followed the curve and hollow of her face, slid the can to the back of her neck.

She looked up at me. “It was good, what you did with that rent-a-cop. Just leading him out without fuss. Maybe you just act nicer when you wear a dress.” I didn’t say anything. “You said last week that you wanted my help.”

“Yes.”

“Let’s trade. I talk to you, I get you as my food guinea pig.”

“All right.”

“Then come to my house for dinner. Supper. Nine o’clock. You know where it is.”

“Yes.” I brought the can back to her cheek. Moisture from the can trickled down her neck, as far as her collarbones, which rose and fell, rose and fell. I wondered if the water would still be cool or whether it would have warmed running down her skin. “If you really want to stay cool, you should wet your hair. The heat generated by your head will dry it, and the evaporation will cool you down.”

“What are you doing?”

We turned. Dornan. Holding a red-cardboard-bound script.

Kick stepped away and took the can from me in one smooth move. “She’s telling me to go soak my head, in the nicest possible way.” She put the soda back in the fridge, got herself a bottle of water.

“You should use the fan I got you.” Kick pretended not to hear him.

“Is that the script?” I said.

“What? Oh, yes. Here.” He held it out. “You should read it.”

The air conditioner fell silent.

I hefted the script in one hand. Nine o’clock. “I’m going back to the hotel,” I said to him. “I’ll give you a ride.”

“Oh, I think I’ll stay awhile,” he said. “But thanks.”

OUTSIDE, IT WAS STILL OVER SEVENTY DEGREES. INSIDE, THE BASEMENT AIR-CONDITIONING unit set in the wall rattled like a garbage disposal with a spoon stuck in it. I turned it off. It would get hot. Tough.

I handed out the five polystyrene weapons and lined the women up opposite their unarmed partners.

“A lot of us are scared when we face an edged weapon—a big knife, a broken bottle, a razor. If and when that ever happens to you, the first thing you do is breathe, the way we learnt two weeks ago. Do it now.” They did. In. Out. “Now that you’re sure you won’t pass out, the next step is to demystify the weapon. Look at the weapon—Tonya’s bottle, Kim’s bread knife, Sandra’s razor, Suze’s ice pick, Jennifer’s KA-BAR—and ask yourself: Why is your attacker carrying a weapon in the first place? To boost their confidence? To instill fear in you, his victim? To hide behind it in some way? Then you ask yourself what the potential power of the weapon is. How sharp at the tip? Is it edged? How long is it? What kind of damage can it do? So, for example, an ice pick isn’t very long, and it’s not much use for slashing or bludgeoning, but it’s great for stabbing.”

Suze gave Kim a superior look.

“And Kim’s bread knife,” I said to her, “while it might not be very sharp, nor have a stabbing point, can be used, with sufficient force, to take your nose, or your head, right off.”

They nodded, but they had no notion of the sheets—the rivers, the lakes—of blood, or how much muscle it took to saw through flesh and then bone.

They were waiting for me to continue. I forced myself back into their southern lady shoes.

Suze’s ice pick was traditionally a tool of men, or sexually predatory women in the movies. A bread knife was a tool of the home and hearth, something they handled every day, or that their mothers, at least, had. Not hard to guess which these women found more frightening.

“Next you have to ask yourself how expert the attacker is likely to be with the weapon. We’ve already seen how difficult many of them can be to wield. Bear in mind that very few people are experts with things like razors or bread knives or ice picks. Remember that a weapon has no power of its own. It depends entirely on its user.” And the magic the victim invests in it.

“What’s the point of all this thinking?” Pauletta said.

“Assessment. You can’t know what to do in any situation until you’ve assessed it. Keep your eye on the weapon and remember: It’s just a tool. Not magic.”

None of them looked as though she believed me.

“Once you’re breathing, we go on to other questions: What does your attacker want? Will you be in more or less danger in a few minutes? Pick your moment to act. When you do act, begin with a distraction.”

“Wait,” Pauletta said. “Can we go back to the part about—”

“I’ll take questions later. An attacker with a weapon will be concentrating on that weapon. It will be a kind of talisman, a psychological crutch. The armed attacker’s focus will be very narrow indeed.”

“I’m getting lost here,” Pauletta said.

“Sandra, give Pauletta your razor. Pauletta, come and stand here. Threaten me with the razor. Sandra, where were you, as the attacker?”

“Getting my oil changed.”

“And what did you want from Pauletta?”

“To make her weep,” Sandra said matter-of-factly. Weep. Very biblical. Very melodramatic. I’m special, her tone implied. My life is worse than anyone here can possibly imagine. Except you, of course. But I was tired of her nonsense.

“All right,” I said to Pauletta, who was staring at Sandra. “We’re in a garage. Pauletta, you’re going to try and make me weep.”

“I don’t… Okay.” She waved the polystyrene self-consciously. “Kneel down, bitch. Kneel right here.”

“Okay,” I said, putting my hands up in the universal “Hey, whatever you say” gesture. “Just tell me what you want.”

“I’m gonna make you cry.” Her hand went to an imaginary zipper. Always the same. Too many movies. “Get on your knees.”

“Right,” I said, pretending to be about to go down on one knee, and then started to retch.

“Eeeuw!” Pauletta said, and stepped back.

“There. That’s a distraction. Other distractions could include picking your nose…”

“Gross!”

“…drooling, shouting, acting like a crazy person. The point is to break your attacker’s vision of the event. Don’t let him orchestrate. Don’t, ever, buy into his world.” They weren’t getting it. “In this instance, as soon as my attacker gestured towards his fly, it was clear he wanted close personal contact. He was having some kind of power and sex fantasy. Vomit has probably never figured in them. Vomit is visceral: wet and hot and stinking. Nothing like the vision he’s been constructing for months, years, decades. The point of vomiting or picking your nose is to break his vision of you. You are not a victim. Don’t act like one.”

Jennifer looked as though she wanted to cry. Tonya seemed confused. “Which part don’t you understand?”

“Me, I don’t understand why you’re so pissy today,” Nina said.