Slow increments of early dusk are gathering around the scowling Sherlock as he contemplates the haphazard assembly of a dozen centuries, the spectrum of failed social strategies and mix of incompatible building materials represented by the mural mess in front of him. The rood has long since disappeared and taken the wall with it, leaving only a conspicuous and desolating absence. He can’t help but wonder where it went, the crude-cut icon sent to tag the middle of the land, the centre of his pulp investigation. Was it spirited away by sharp-eyed demolition workers, either mercenary or conceivably devout? Perhaps more likely, did it go unrecognised, its aura faded, its significance by then bled out into the thirsty dirt, abandoned in a deeper drainage ditch than that in which the tombstone of Saint Ragener was finally discovered sometime in the nineteenth century? Composed of matter near as ancient and enduring as the world itself, a great plus-symbol to denote the site’s positive terminus, Studs knows that it must still exist somewhere, as widely scattered shards if nothing else. When space and time are ending the device’s disparate molecules will still be there for the finale, possibly intact, a symbol that has long outlived the doctrine symbolised, with its imputed righteousness remaining aeons after Hervey, Doddridge, Blake and everybody else are gone the way of all flesh at the far ends of a predetermined universe.
An atavistic pineal tingle tells him that he’s being watched, an ingrained P.I. reflex critical to his imaginary line of work. Swivelling his extraordinary profile, like the cliff-face simulacrum of an Indian chief in Fortean Times, he glares uphill to where a rotund little man with curly white hair and a matching beard, possibly one of Santa’s helpers, stands poised apprehensively on Marefair’s corner. The rube’s face, bespectacled eyes wide and fixed on Studs with an expression of startled incomprehension, rings a faint ’40s hotel reception bell in his recall, sets him to shifting the half-empty coffee cups and stacked pornography from his internal filing cabinet, sifting through the outdated mug-sheets for a moniker to go with the familiar, shifty features.
As the piece of work turns hurriedly away like he’s pretending that he hasn’t just been clocking the detective, making across Marefair for the other side and pointedly not looking back, the penny drops. The interloper on Studs’ private made-for-TV drama is the former councillor James Cockie, that same jovial countenance affixed beside the header of a weekly column in the local Chronicle & Echo, copies of which he’s perused while staying at his mum’s place. This being the code name for his office. You can’t be too careful.
Watching the retired council head laboriously roll his fleshy snowball off up Horsemarket towards the Mayorhold, the unfrozen Piltdown man-hunter reflects on Cockie’s late but perhaps pertinent arrival in this last stretch of the storyline. While technically the genre generally demands the killer be a character the readers or the viewers have been introduced to early in the game, there’s always those convention-bucking mavericks like Derek Raymond, with his greasy beret still behind the bar down at the French in Soho, mimicking real life in that the culprit’s often no one who’s been seen before. In oddball works like that, Studs soberly reflects, the tale turns out to have been more about the labyrinthine mental processes of the protagonist than the contortions of the case he’s trying desperately to solve. That said, there’s no compelling literary imperative that rules out the ex-councillor from the inquiry. With the former Labour politician’s dwindling mass receding from view in a slow red shift, Studs puts it all together.
Having had, presumably, a hand or at the very best a chubby finger in the neighbourhood’s brutal demise while still in office, even if entirely passively, Jim Cockie fits the profile. There was that look in his bugged Tex Avery eyes, furtive and guilty, right before he’d turned around and walked off in a hurry. Don’t they say, if you wait long enough, the murderer always returns to where it happened, to the crime scene? Sometimes it’s to gloat, or sometimes in a panic-stricken effort to conceal incriminating evidence. Occasionally, so they tell him, it’s to masturbate, although Studs doubts if that would be the motive in this current instance. Once in a long while, of course, the perp’s compulsion to revisit the chalk outlines of their killing ground might be born of a genuine remorse.
Uphill, the new prime suspect is diminishing away to nothingness like a white phosphor dot shrinking into the starless vastness of a cooling 1950s telly. Curling his lower lip until he’s worried that it could roll up and travel down his chin, the stumped P.I. turns south and heads back down the way he came. He knows that Cockie is protected; knows that he could never get a case to stick. Forget it, Studs. It’s Chinatown.
The triangles and diamonds of a stencilled sky behind the old gas-holder hulking further down the slope are starting their decline to indigo, and he can feel the utter jet of night descending on whatever narrative he’s in, the big obsidian coming down upon this over-complicated continuity with desperate hours to go before tomorrow morning and his rendezvous with Warren at her exhibition. He heads back to where he left the, oh, he doesn’t know, time-travelling De Lorean or something, with his craggy head a place of gothic transepts and determinism, the soul-crushing clockwork of the hackneyed, billiard-ball plot trajectory, this character-arc passing for a life.
He thinks of crosses, double-crosses and the Mr. Big behind the scenes pulling the strings for Hervey, Wesley, Swedenborg and all the rest, the man upstairs who’s always careful to keep out the picture, an elusive boss of night and mortal intrigue, frequently reported dead but always with some wiggle room left for a sequel.
He locates his car in the protracted slow dissolve of twilight, drives home, checks to see if any casting agencies have left a message, eats his warmed-up dinner, goes to bed. After a great while and a mug of Horlicks, everything goes noir.
THE JOLLY SMOKERS
Den wakes beneath the windswept porch al
one
On bone-hard slab rubbed smooth by Sunday feet
Where afternoon light leans, fatigued and spent,
Ground to which he feels no entitlement
Nor any purchase on the sullen street;
Unpeels his chill grey cheek from chill grey stone
Then orients himself in time and space.
The roof’s a black-ribbed spine viewed from the floor
With on one wall some obsolete decree
Meant for the Cypriot community
And at the near end an iron-studded door,
A Bible-cover slammed shut in his face,
Or that of some more academic tome.
He struggles up onto one threadbare knee.
Moved on by night, he’s slept instead by day
Beneath Saint Peter’s covered entranceway
Thanks to the shame of university
And a conviction that he can’t go home,
Can’t face his parents, ask yet more reprieves