The Boy with the Cuckoo-Clock Heart (5 page)

Joe pins me face down to the ground, so I can’t move. My cuckoo is singing at the top of its voice, I feel like my oesophagus is on fire, something’s changing inside me. Violent spasms shake me every three seconds. Joe turns around triumphantly.

‘So, you’re setting off for Andalusia just like that?’ he asks, through gritted teeth.

‘Yes, I’m leaving! And I’m leaving today!’

My eyes are bulging, so is my throat, and my movements too. I’m turning into a pair of shears that will chop up anyone and anything.

Pretending to be a dog sniffing a turd, Joe brings his nose close to my clock. The whole playground bursts out laughing. This is too much. I grab him by the neck and ram his face against my clock hands. His skull cracks loudly against my wooden heart. The clapping stops dead. I deal him a second blow, more violent this time, then a third. Time seems to stand still. I’d love a photograph to document this moment. His first cries for help shatter the silence, just as the first spurts of blood splatter the nicely ironed clothes of the creeps in the front row. When the hour hand impales itself on the pupil of his right eye, his socket turns into a bloody fountain. All Joe’s terror is concentrated in his left eye, as it watches the shower of his own blood. I relax my grip and Joe yelps like a poodle whose paw has accidentally been trodden on. The blood trickles between his fingers. I don’t feel the slightest bit of compassion for him. Silence follows, and it lasts.

My clock’s burning. I can barely touch it. Joe doesn’t move. Is he dead? I’d like him to stop wiping his feet on my dreams, but I don’t necessarily want him dead. I’m starting to feel frightened now. The sky shimmers with beads of blood. All around us, kids stand like statues. Perhaps I really have killed Joe. Who’d have thought that one day I’d be worried about Joe dying.

I run away, the whole world on my heels as I cross the playground. I climb up the left pillar and clamber on to the school roof. The realisation of what I’ve just done chills me to the bone. My heart produces the same noise as when I first fell in love with the little singer. Up on the roof, I can make out the top of Arthur’s Seat goring the mist.
Oh Madeleine, how furious you’d be . . .

A swarm of migrating birds hovers above me, as if stacked on a bank of clouds. I’d like to catch hold of their wings and tear myself away from the earth; if only my heart’s troubles would take flight, nothing else would matter. Please, dear birds, take me to Andalusia, and I’ll find my way from there.

But the birds are out of reach, like chocolate piled high on a shelf, or the alcoholic flasks of tears in the cellar, or my dream of the little singer where I have to climb over Joe in order to get to her. If I’ve killed him, things will be even more complicated. My clock is throbbing. Madeleine, you’ve got your work cut out.

I must try to turn back time. I grab the hour hand that’s still warm with blood, and tug it backwards in one quick stroke.

My gears whine, the pain is unbearable. Nothing happens. I hear shouting, they’re heading this way from the playground. Joe is holding his right eye. I’m almost reassured to hear the injured poodle yelping.

A teacher intervenes and I hear the children denouncing me, all eyes scouring the playground like radar. Panicked, I tumble from the roof and jump into the first tree I see. I scratch my arms on the branches and go crashing to the ground. Adrenalin gives me wings. My legs have never been in such a hurry to get to the top of the mountain.

‘Did you have a nice day at school today?’ Madeleine asks, as she tidies her shopping away into the kitchen cupboard.

‘Yes and no,’ I answer, trembling all over.

She looks at me, sees my twisted hour hand, and fixes me with a disapproving stare.

‘You saw the little singer again, didn’t you? The last time you came home with your heart in such a filthy mess, you’d heard her singing.’

Madeleine talks to me like I’m a schoolboy sloping home with his best shoes ruined after playing football.

As she tries to straighten my clock hand with a crowbar, I start telling her about the fight. But it makes my heart beat faster again.

‘You’ve been very foolish!’

‘Can I turn back time by making my clock hands go backwards?’

‘No, you’ll put pressure on your gears and it’ll be extremely painful. But it won’t make the slightest bit of difference. You can never undo your past actions, not even when you have a clockwork heart.’

I was expecting to be scolded horribly for poking Joe’s eye out. But hard as Madeleine tries to look annoyed, she’s not entirely successful. And if her voice chokes, it’s more with concern than anger. She seems to think it’s less serious to poke out a bully’s eye than to fall in love.

Strains of ‘Oh When the Saints’ suddenly come our way. It’s unusual for Arthur to be paying us a visit at this time of night.

‘Och, a carriage full of police officers is making its way up the hill, and they’re all looking like their wee minds are set, if ye ken what I mean,’ he says, out of breath.

‘I’ve got to go, they’re coming to find me because of Joe’s eye.’

A fistful of different emotions sticks in my throat: the rose-tinted dream of finding the little singer combined with my fear of listening to my heart beating against the bars of a prison cell. But a wave of melancholy drowns everything. No more Arthur, no more Anna, no more Luna and, above all, no more Madeleine.

I will come across a few sad looks in the course of my life, but the one Madeleine gives me right now will always be – along with just one other – the saddest I’ll ever witness.

‘Arthur, go and find Anna and Luna, and try to find a carriage. Jack must leave town as fast as possible. I’ll stay here to greet the police.’

Arthur plunges into the night, limping as fast as he can to reach the bottom of the mountain.

‘I’ll get your things ready. You need to be out of here in less than ten minutes.’

‘What will you tell them?’

‘That you haven’t come home. And in a few days, I’ll say that you’ve disappeared. You’ll be declared dead after a while, and Arthur will help me dig your grave at the foot of your favourite tree, next to Cunnilingus.’

‘What will you put in the coffin?’

‘There won’t be a coffin, just an epitaph carved into the tree. The police won’t run any checks. That’s the advantage of people thinking I’m a witch, they won’t go rummaging through my graves.’

Madeleine prepares me a bag containing several flasks of tears and a few items of clothing. I don’t know how to help her. I could say something meaningful, or fold my underwear, but I’m like a nail stuck in the floorboard.

She hides the second set of keys to my heart by tucking them into my frock coat, so that I can always wind myself up. Then she distributes a few oatcakes wrapped in brown paper among the bag’s contents, and hides some books in my trouser pockets.

‘I can’t carry all that around!’

I’m trying to behave like a grown-up, even if I’m very touched by all this fussing. By way of a response, she flashes me her famous twitch of a smile. No matter what the situation, from the funniest to the most tragic, she always has to make something to eat.

I sit down on my bag, to shut it properly.

‘Don’t forget, as soon as you’ve settled down somewhere, you need to make contact with a clockmaker.’

‘You mean a doctor!’

‘Absolutely not! Never go to a doctor if there’s something wrong with your heart. No doctor would understand. You’ll need to find a clockmaker to sort it out.’

I want to tell her how much I love her and how grateful I am, there are so many words jostling on my tongue, but they refuse to cross my lips. All that’s left are my arms, so I hug Madeleine tight.

‘Careful, you’ll hurt your clock if we hug too hard!’ she says, in a voice that’s gentle and ravaged. ‘You must go now, I don’t want them to find you here.’

We pull apart and Madeleine opens the door. I’m still inside the house but I’m already feeling cold.

I get through a whole flask of tears as I run down the familiar path. It lightens my load, but not my heart. I wolf down the oatcakes to soak up the alcohol and my tummy swells up like a pregnant woman’s.

On the other side of Arthur’s Seat, I can see the police officers. Joe and his mother are with them. I tremble with a mixture of fear and euphoria.

A carriage is waiting for us at the foot of the mountain. In the glare of the street lamps, it stands out like a piece of the night. Anna, Luna and Arthur clamber in quickly. The coachman, with his moustache stretching all the way to his eyebrows, shouts at his horses in his deep voice. With my cheek pressed against the window, I watch Edinburgh disappearing into the mist.

The lochs extend from hill to hill, measuring out the distance I’m committed to putting behind me. Arthur snores like a steam engine. Anna and Luna dangle their heads; they look like Siamese twins. The tick-tock of my clock echoes in the silence of the night. I realise that this little world of people will set off again without me.

At daybreak, the twisted tune of ‘Oh When the Saints’ wakes me up. I’d never heard it sung so slowly. The carriage has come to a stop.

‘We’re here!’ says Anna.

Luna puts an old birdcage on my knees.

‘This is a carrier pigeon that a romantic customer gave me a few years back. It’s a very well trained bird. Write to us with your news. Roll your letters around his left claw, and he’ll deliver the message to us. We’ll be able to stay in touch that way, he’ll find you again wherever you are, even in Andalusia, the land where women look you straight in the eye. Good luck,
pequeñito
,’ she adds, hugging me tightly.

C
HAPTER FIVE

As the train pulls out of the station, it snorts loudly making a haunting din. The locomotive’s syncopated rhythms set me on edge and my heart might as well be made of popcorn – I’ll have to learn to travel better. When I panic, my clockwork heart is like a steam engine turning a bend with its wheels coming unstuck. I’m travelling over the rails of my own fear. What am I frightened of? Of you, Madeleine, or rather, of me without you.

The steam and my own clockwork panic seep under the rails. I want to turn back time, put my old rattletrap of a heart in your arms, Madeleine. Our last hug is still warm, but I’m already as frozen as when I first met you on the coldest day on earth. Oh Madeleine, I hadn’t even left the shadows of Edinburgh behind before drinking all your tears. I promise that at the next stop I’ll consult a clockmaker. You’ll see, I’ll come back to you in fine condition, or rather just out of kilter enough for you to exercise your mending talents over me once more.

The more time that goes by, the more this train frightens me, its puffing, rattling heart seems as dilapidated as my own. It must be terrifically in love with its engine. Unless, like me, it’s suffering from the sadness of what it’s left behind.

I feel alone in my compartment. Madeleine’s tears have installed a revolving door inside my head. I’ll be sick if I don’t speak to somebody. I notice a tall man leaning against the window, writing something. From a distance, he looks like Arthur, but that impression disappears the closer I get. Apart from the shadows he casts, there’s nobody near him. Tipsy on loneliness, I launch right in:

‘What are you writing, sir?’

The man gives a start and hides his face under his left arm.

‘Did I frighten you?’

‘You surprised me, it’s not the same.’

He continues writing, concentrating as hard as if he was painting a picture. The turnstile in my brain starts to pick up speed.

‘What do you want, little one?’

‘I want to go and win the heart of a woman in Andalusia, but I don’t know anything about love. The women I knew never wanted to teach me anything on the subject and I’m feeling all alone in this train . . . I thought perhaps you might be able to help me.’

‘You’ve landed on the wrong person, my boy. I’m not very gifted when it comes to love . . . not with living people, at any rate. No, it never really worked out for me with living people.’

I start to shudder. I’m reading over his shoulder, which seems to annoy him.

‘That red ink . . .’

‘It’s blood! Go away now, little one, go away!’

He’s copying out the same phrase, methodically, on several pieces of paper: ‘
Your humble servant, Jack the Ripper
.’

‘We’ve got the same first name, do you think that’s a good sign?’

He shrugs, vexed I’m not more in awe of him. The engine whistles itself hoarse in the distance, the fog creeps through the windows. I’m shivering.

‘Go away, little one!’

He strikes the floor with his left heel, the way he might scare a cat. Not that I am one, but it does have a certain effect on me. The sound of his boot competes with that of the train. He turns towards me, his features razor sharp.

‘Go away now!’

The fury in his eyes reminds me of Joe. It’s like a remote control that switches my legs to tremble mode. He heads towards me.

‘Come on, you mists,’ he drones. ‘Let the doors of haunted trains slam shut! I’ll give you the ghosts of handsome women to carve up in the mist, a twist of blonde or brunette . . .’

His voice becomes a groan.

‘I can rip them open without even frightening them . . . signing off your humble servant, Jack the Ripper! Don’t be afraid, my boy, you’ll soon learn how to survive by frightening others! Don’t be afraid, my boy, you’ll soon learn how to survive by frightening others . . .’

My heart and body are racing out of control, and this time it’s got nothing to do with love. I tear down the train corridors. Nobody. The Ripper chases after me, smashing all the windows with a dagger. A black swarm of birds dives into the compartment, clustering around him. He’s making faster progress by walking than I am running.