Adam Nevill - Banquet for the Damned

Tom chuckles. 'I've told you before, don't smoke this stuff if you're down or in a crowd. It'll make you paranoid.'

'It's not the dope, Tom. Eliot is really cool, but…'

'What?'

'I don't know. He mentioned something about him changing. You know, his personality, and there was just this, this air about everything he said. Kind of negative. Not like Banquet at all, and he even slated that.'

'I'll tell you what it is, it's a classic case of first-day nerves. You meet a guy, who's like the biggest influence on your life, in a university, surrounded by all this Greek salad. Man, it's bound to rattle you. But it's the first day. As soon as you learn to play the game, it'll be plain sailing. You're a clever guy, a stone's throw away from a boring intellectual. You'll be a nerd by Christmas.'

Dante cannot prevent a smile from creeping across his face.

Suddenly, he feels foolish and guilty for persecuting Tom in his thoughts.

'You just have to learn to count your blessings,' his friend continues. 'Look at this flat. People would pay eight hundred a month for this in Brum. We get it for two, right by the sea and the castle.'

'Bishop's Palace,' Dante corrects him, feeling warmer inside.

'Excuse me, Mr fuckin' professor. It could be a bishop's outhouse for all I care.'

'Sorry, man.' Dante says, his voice breaking with laughter.

'I'm going to come over there and kick your arse in a minute. I'm trying to help and you're taking the piss.'

Unable to stop laughing, Dante's eyes water. He can't remember being so pleased to have his friend by his side. Giggling too now, Tom stares at the side of Dante's head, his own shoulders moving up and down. 'Man, you have really lost it. You'll never make a rock star. You have no stomach for drugs. Look at you man, after a couple of toots on this cheroot.'

With a gasp, Dante wipes the tears from his eyes. 'Buddy, sometimes I wish you had breasts. I'd get down on one knee. You do me the world of good.'

'Which reminds me,' Tom says. 'Did I tell you I nearly scored today, with a chick that sells cigarettes and lottery tickets in the supermarket? Legs like a gazelle and a voice like honey.'

'No you didn't, but this is my surprised face. Be careful with the locals. This is unknown territory. I don't want some tattooed Scot kicking the door down in the middle of the night, shouting "Morag! Morag! I love ya. I'll foockin' kill him."'

'Man, what am I, an amateur?' Tom says, smiling.

Dante sinks deeper into his chair. 'God, I feel better now. And you're right about this place, mate. Cracking flat.'

'Yeah. Eliot wouldn't do this for anyone. Remember that. The force is strong in you, mate. He knows it.'

When they first arrived, the day before, the modern interior of the flat amazed them. The sight from the street of the cramped stone front of the building furnished each of their imaginations with an impression of a hideous twee decor. But there was nothing floral or busy about the interior when they let themselves in. No porcelain bric-a-brac or hideous scented dolls propped up on pillows. Instead, the old structure had been gutted and modernised in clean and plain terms.

Tonight, their candles are alight at strategic points around the living room, and while Dante was with Eliot, Tom has shopped, unpacked, and arranged their acoustic guitars on stands by the patio doors, which open out to a large garden they share with the flat above them. 'Have you met the neighbours yet?' Dante asks.

'No, but I saw an old woman peeping at me from the window. I'm amazed she didn't call Johnny Law. Imagine seeing a couple of longhaired gypos carrying a Marshall amp into the flat downstairs?'

'There goes the neighbourhood,' Dante adds, and they both laugh — the breach closed and the protective circle drawn for the night.

The hard cold thing between Maria's hands is a gravestone.

She wakes, bent over. She struggles to breathe and flashes her startled eyes about — a pretty deer stunned by the high beams of a sleepwalk. A forest of tilting headstones stretches off in every direction, only rearing up in their shadowy processions to mill about the thick perimeter walls, or to part by the eroded cathedral remains and lonely St Rule's Tower in the centre of the churchyard.

The stars and streetlights struggle to penetrate the ground where Maria stands, all thick with black grasses and mildewed stone figurines. She's barely able to see her own legs or to distinguish the hard shapes that corral her inside this thick copse of worn tombstones. Every object seems indistinct but almost alive — as if vibrating from the hidden energies of night. To her right, a thick wall, encrusted with upright tombs, dulls the sound of the sea. To her left, forlorn St Rule's Tower stands beside the chipped and spectral silhouette of the Priory's east gable, which joins the dark archway straight ahead of her.

Dank smells fill her nose and mouth: a thick and cloying reek of decay, wet leaf and dripping urn. A place summer has forgotten. Here and there, dotted like false hopes in the black, drowning sea of forgotten names and worn markers, a luminescent halo rises off new marble, a final sign from the newly dead, the last brightness from lives gone and never destined to return.

Standing straight, Maria's entire body shakes from nerves and the breaths she takes quickly. She moves a leg and bangs a naked shin on stone, solid and impatient with living flesh. Pain revives her enough to still her confusion and, immediately, her instincts advise flight. She should not be down here, miles from New Hall, with no recollection of having arrived. It is too dark, too quiet, and too still — a place of finality and reluctant rest, not for the living and never at night.

Moving clumsily, she crosses wilted flowers and avoids sloping gravestones, to reach the path running under the arch. It cuts between the cathedral and the western cemetery, and leads to the main gate. One of her fingernails catches on a leaning headstone, then her knees scratch against an edge of another stone that has crumbled, and finally she stubs the toes of her left foot against a square marker hidden inside the cold grass. Never has her body felt as weak and vulnerable as it does amongst these hard rocks that long to shipwreck a body fleeing for the locked gate.

Memories come back to her when she least wants them to, making her recall the whispers in her room, and the dark presence that issued them. She will definitely see the American doctor tomorrow. Why did she have to fall asleep and miss her appointment this afternoon? If she'd gone she might not be here. But right now, she has to get out. There is a police station on North Street, by the cinema where she fell in love with Ethan Hawke, and there are taxis down there too. Just get out, and get out fast.

But Maria only makes it to the path, near the ruined cloister, and not much further. Because something is moving in the ruins, amongst the flat tombs, near the old and vanquished altar. She sees a shape. It is hunched over, and lopes across the flattened grass and the paving stones where the building once broadened out in the shape of a crucifix. It moves quickly, craning a head back to test the air with a face that is mercifully indistinct. She can feel no strength in her legs.

Desperate, she wants to bolt toward the gate and Dean's Court beyond, where South Street and North Street meet. She should shout for help too, and wave her arms in the air. There is a car outside Dean's Court — a black car, an Audi with tinted windows, and its tiny red brake lights are on so someone must be inside it. But she stops herself. For a moment, nothing in the world will allow her to remove her eyes from the exposed cathedral innards. This is how people must feel, she thinks, when they come face to face with a bear in a forest, or a leopard in a jungle. They freeze.