Douglas Kennedy - A Special Relationship

'Was that you calling me all the time yesterday?'

'Ms Hobbs... Pat... please hear me out...'

'Don't you go calling me by my name. I don't know you'.

'I'm Tony's wife...'

'I bloody well remember. You bothered me all those months ago...'

'It's an urgent situation'.

'Is he dead or dying?'

'No, but...'

'Then it's not urgent'.

'If you'd just let me explain...'

'Don't think I will'.

'It's just one simple question'.

'Which I'm not going to answer, no matter what it is. And I don't want you disturbing me again'.

She hung up. I rang back. The line was busy. I called back again ten minutes later. Still busy. Half an hour later. Still busy. She'd taken it off the hook. I paced the kitchen with worry. I glanced at the clock on the wall. Then I found myself reaching for the phone and calling National Rail Enquiries, and finding out that if I caught the 21.32 from Putney to Clapham Junction, and changed for the 21.51 to Eastbourne, I would arrive in Seaford at 23.22.

I threw a few things into an overnight bag - thinking that, as it was a seaside town, there must be a few bed-and-breakfasts down there. Then I ran for the train.

As I walked out of Seaford station two hours later, I caught that iodine smack to the air that hinted that the sea was near. There was one lone cab outside. I showed him the address - garnered from Directory Enquiries.

'It's just three minutes' walk from here', he said, pointing towards a Safeway supermarket opposite the station. I thanked him and started walking. The streets were empty. The lamplight was low, so all I could discern was a small main street with a jumble of Edwardian and modern buildings - including a very modern, boxy branch of Safeway. I turned right before it, and found myself on a street of lowlying shops, at the end of which were a handful of pebble-dashed bungalows. No 26 was the second from the end. It was painted cream. It had lace curtains in the windows. It also had a wooden sign above the door, informing the world that this house had been named: Sea Crest. My plan had been to seek out the house, then find a B&B nearby, and set the little travel alarm I brought with me for six-thirty, in order to be at her door by seven. She might hate the early morning wake-up call, but at least I'd have a chance of catching her before she went off to work (if, that is, she did work). But when I reached her front door, I saw that all the lights were on. So, figuring it was best to incur her wrath while she was still awake, I approached the door and rang the bell.

After a moment, the door opened slightly. It was attached to a chain. Behind the chain, I could see a woman with a very lined face and scared eyes. But the voice was as angry as before.

'What do you want at this time of night?'

I quickly put my foot into the space created between the open door and the door frame, saying, 'I'm Tony's wife, Sally Good' -

'Get out of here', she said, trying to slam the door.

'I just need five minutes of your time, please'.

'You don't leave right now, I'm calling the police'.

She tried slamming the door again.

'Just hear me out...'

'At bloody midnight? No way. Now get going or...'

'He's taken my child from me'.

Silence. This obviously gave her pause, and it showed.

'Who's taken your child from you?'

'Your brother'.

'You have a child with Tony?'

'A son - Jack. He's about nine months old now. And Tony has...'

I put my hand to my face. I felt myself starting to get shaky again. I didn't want to cry in front of this woman.

'He's what?' she asked, the voice not so hard now.

'He's run off with another woman. And they've taken my son...'

I could see a mixture of concern and ambivalence in her eyes.

'I haven't had anything to do with my brother for nearly twenty years'.

'I understand. And I promise you I won't take up more than ten minutes of your time. But please - the situation is rather desperate. Believe me, I wouldn't be here at midnight if...'

I heard her undoing the chain.

'Ten minutes, no more', she said. And she opened the door.

I stepped on to a patterned, wall-to-wall carpet. It continued down a hallway papered in a brownish floral print. The living room was off this corridor. More Axminster carpet, a three-piece suite in beige vinyl, an elderly television and video recorder; an old mahogany sideboard, on which sat a half-drunk bottle of Bailey's Irish Cream, and a half litre of inexpensive-looking gin. There were no decorations on the walls - just a different patterned floral wallpaper: sepia-toned and fading. There was a distinctive whiff of damp in the air.

'So what do you want to tell me?' she asked.

Like so many times over the past months, I worked my way through the entire story again. Pat Hobbs sat there throughout the telling, impassive, smoking one Silk Cut after another. I knew she was around ten years older than Tony - and though she wasn't chunky, her deeply ridged face and sad eyes and the elderly floral bathrobe that loosely covered her frame made her seem almost geriatric. Somewhere halfway through the story, she interrupted me, asking, 'You drink gin?'

I nodded. She got up and filled two glasses with gin, then added some flat tonic from a bottle on the sideboard. She handed me a glass. I took a sip. The flat tonic was pretty vile. Ditto the metallic taste of the cheap gin. But it was alcohol, and it helped.

It took about another ten minutes to bring her fully up to date. She smoked another two cigarettes during that time. And finally said, 'I could have told you my brother was a bastard. A charming bastard, but a bastard nonetheless. So, besides saying sorry for your troubles, what can I do about this?'

I took another steadying sip of gin, knowing that if I didn't win her over now, this entire late-night visit would come to naught. Then I said, 'Remember when we spoke some time ago, and I mentioned that Tony had just left me, and you asked me...'

I encapsulated the conversation for her, even though I remembered it, word for word.

'How long have you two been married now?' she asked me.

'Around a year'.

'And he's already abandoned you? That's fast work, right enough. Mind you, I'm not surprised. He's the abandoning sort'.

'You mean, he's done this before?'

'Maybe'.

I looked at her directly now and asked, 'What did you mean by "maybe"'.

She lit up another cigarette. I could see that she was weighing this all up, wondering if she should involve herself at all in my story. I was asking her to betray her brother. And though she mightn't have spoken with him for twenty years, her brother was still her brother.

She took a deep drag of her Silk Cut, then exhaled.

'I'll tell you - on one condition. You never heard this from me. Understand?'

I nodded. Now it was her turn to tell a story. Two stories in fact, though they were all part of the same central narrative. Then, when she reached the end of her tales, she stood up and went out into the hallway, and returned with an address book, and a scrap of paper and a pen. She found two numbers. She wrote them down. She said, 'Now you can deal with them. But understand: I'm to be kept out of the picture'.

I assured her that I'd say nothing about her involvement, then thanked her profusely for helping me out, letting her know that I realized what a difficult thing she had just done.

'It wasn't difficult at all'.

She stood up, indicating it was time for me to leave.

'Must get up for work in the morning', she said.

'What do you do?'

'Cashier for a building society here in town'.

'You like it?'

'It's a job'.

'I can't thank you enough...'

She waved me off. She didn't want gratitude.

'All right then', I said, picking up my overnight bag. 'But I still appreciate everything'.