The Classic Morpurgo Collection (six novels) Page 5

  Cookie – Mr Cook, my history teacher – was sitting beside me at the end of my table. “Who were you looking for, Morpurgo?” he asked suddenly.

  “Andrews, sir,” I said. “Bertie Andrews.”

  “Andrews? Andrews? There’s an Albert Andrews who won the Victoria Cross in the First World War. You mean him?” Cookie scraped his bowl clean and licked the back of his spoon. “I love raspberry jam. You’ll find his name in the chapel, under the East Window, under the War memorial. But he wasn’t killed in the war, you know. He lived down at Strawbridge, that place with the lion on the gateway, just across the main road. He died, maybe ten, twelve years ago, soon after I came to teach here. The only old boy ever to win the VC. That’s why they put up a memorial plaque to him in the chapel after he died. I remember the day his wife came to unveil it – his widow, I should say. Poor dear, just herself and her dog in that great big place. She died only a few months later. Broken heart, they say. You can, you know. You can die of a broken heart. That house has been empty ever since. No family to take it on. No one wants it. Too big, you see. Shame.”

  I said I wanted to be excused, to go to the toilet. I hurtled down the passage, out across the courtyard and into the chapel. The small brass plaque was exactly where Cookie had said it was, but hidden by a vase of flowers. I moved the vase to one side. The plaque read:

  ALBERT ANDREWS VC

  BORN 1897. DIED 1968.

  AN OLD BOY OF THIS SCHOOL.

  AND THE LION SHALL LIE DOWN

  WITH THE LAMB.

  All night long I tried to puzzle it out. Cookie was wrong. He just had to be. I never slept a wink.

  Adonis Blues

  The next afternoon after games were over, I went over the fence at the bottom of the park, hared up through Innocents Breach, across the road, along the wall and slipped through the iron gateway with the stone lion roaring above me. It was raining a light summer rain.

  I tried knocking at the front door. No one came. No dog barked. I went round to the back and peered in through the kitchen window. The box kite was still there on the kitchen table, but there was no sign of the old lady anywhere. I rattled the kitchen door, and knocked louder, again and again. I called out: “Hello! Hello!” There was no reply. I banged on the window. “Are you there? Are you there?”

  “We all are,” came a voice from behind me. I turned. There was no one there. I was alone, alone with the white lion on the hillside. I had imagined it.

  I climbed the hill and went to sit in the grass above the white of the lion’s mane. I looked down at the great house beneath me. Jackdaws cawed overhead. There was bracken and grass growing out of the gutters and around the chimney pots. Some of the windows were boarded up. Drainpipes hung loose and rusting. The place was empty, quite empty.

  The rain suddenly stopped and the sun warmed the back of my neck. The first butterfly landed on my arm. It was blue. “Adonis Blues, Adonis Blues,” came the voice again, like an echo in my head. Then the sky around me was filled with butterflies, and they were settling to drink on the chalk.

  “Adonis Blues, remember?” The same voice, a real voice, her voice. And this time I knew it was not in my head. “Keep him white for us, there’s a dear. We don’t want him forgotten, you see. And think of us sometimes, won’t you?”

  “I will,” I cried. “I will.”

  And I swear I felt the earth tremble beneath me with the roar of a distant lion.

  For all the good and kind people at The Savoy who looked after us so well.

  MM.

  For my brother Pud, a North Sea fisher-man and boy.

  MF.

  Contents

  Dedication

  The Coming of Kaspar

  Not Johnny Trott at All

  A Ghost in the Mirror

  “Who Gives a Fig, Anyway?”

  Running Wild

  Stowaway

  “We’ve Only Gone and Hit A Flaming Iceberg”

  Women and Children First

  “Good Luck and God Bless You”

  A New Life

  Postscript

  The Coming of Kaspar

  Prince Kaspar Kandinsky first came to the Savoy Hotel in a basket. I know because I was the one who carried him in. I carried all the Countess’ luggage that morning, and I can tell you, she had an awful lot of it.

  But I was a bell-boy so that was my job: to carry luggage, to open doors, to say good morning to every guest I met, to see to their every need, from polishing their boots to bringing them their telegrams. In whatever I did I had to smile at them very politely, but the smile had to be more respectful than friendly. And I had to remember all their names and titles too, which was not at all easy, because there were always new guests arriving. Most importantly though, as a bell-boy – which, by the way, was just about the lowest of the low at the hotel – I had to do whatever the guests asked me to, and right away. In fact I was at almost everyone’s beck and call. It was “jump to it, Johnny”, or “be sharp about it, boy”, do this “lickedysplit”, do that “jaldi, jaldi”. They’d click their fingers at me, and I’d jump to it lickedysplit, I can tell you, particularly if Mrs Blaise, the head housekeeper, was on the prowl.

  We could always hear her coming, because she rattled like a skeleton on the move. This was on account of the huge bunch of keys that hung from her waist. She had a voice as loud as a trombone when she was angry, and she was often angry. We lived in constant fear of her. Mrs Blaise liked to be called “Madame”, but on the servants corridor at the top of the hotel where we all lived – bell-boys, chamber maids, kitchen staff – we all called her Skullface, because she didn’t just rattle like a skeleton, she looked a lot like one too. We did our very best to keep out of her way.

  To her any misdemeanour, however minor, was a dreadful crime – slouching, untidy hair, dirty fingernails. Yawning on duty was the worst crime of all. And that’s just what Skullface had caught me doing that morning just before the Countess arrived. She’d just come up to me in the lobby, hissing menacingly as she passed, “I saw that yawn, young scallywag. And your cap is set too jaunty. You know how I hate a jaunty cap. Fix it. Yawn again, and I’ll have your guts for garters.”

  I was just fixing my cap when I saw the doorman, Mr Freddie, showing the Countess in. Mr Freddie clicked his fingers at me, and that was how moments later I found myself walking through the hotel lobby alongside the Countess, carrying her cat basket, with the cat yowling so loudly that soon everyone was staring at us. This cat did not yowl like other cats, it was more like a wailing lament, almost human in its tremulous tunefulness. The Countess, with me at her side, swept up to the reception desk and announced herself in a heavy foreign accent – a Russian accent, as I was soon to find out. “I am Countess Kandinsky,” she said. “You have a suite of rooms for Kaspar and me, I think. There must be river outside my window, and I must have a piano. I sent you a telegram with all my requirements.”

  The Countess spoke as if she was used to people listening, as if she was used to being obeyed. There were many such people who came in through the doors of the Savoy: the rich, the famous and the infamous, business magnates, lords and ladies, even Prime Ministers and Presidents. I don’t mind admitting that I never much cared for their haughtiness and their arrogance. But I learned very soon, that if I hid my feelings well enough behind my smile, if I played my cards right, some of them could give very big tips, particularly the Americans. “Just smile and wag your tail.” That’s what Mr Freddie told me to do. He’d been working at the Savoy as a doorman for close on twenty years, so he knew a thing or two. It was good advice. However the guests treated me, I learned to smile back and behave like a willing puppy dog.

  That first time I met Countess Kandinsky I thought she was just another rich aristocrat. But there was something I admired about her from the start. She didn’t just walk to the lift, she sailed there, magnificently, her skirts rustling in her wake, the white ostrich feathers in her hat wafting out behind her, like pennants in a breez
e. Everyone – including Skullface, I’m glad to say – was bobbing curtsies or bowing heads as we passed by, and all the time I found myself basking unashamedly in the Countess’ aura, in her grace and grandeur.

  I felt suddenly centre stage and very important. As a fourteen-year-old bell-boy, abandoned as an infant on the steps of an orphanage in Islington, I had not had many opportunities to feel so important. So by the time we all got into the lift, the Countess and myself and the cat still wailing in its basket, I was feeling cock-a-hoop. I suppose it must have showed.

  “Why are you smiling like this?” The Countess frowned at me, ostrich feathers shaking as she spoke.

  I could hardly tell her the truth, so I had to think fast. “Because of your cat, Countess,” I replied. “She sounds funny.”

  “Not she. He. And he is not my cat,” she said. “Kaspar is no one’s cat. He is the Prince of cats. He is Prince Kaspar Kandinsky, and a prince belongs to no one, not even to a Countess.” She smiled at me then. “I tell you something, I like it when you smile. English people do not smile so often as they should. They do not laugh, they do not cry. This is a great mistake. We Russians, when we want to laugh, we laugh. When we want to cry, we cry. Prince Kaspar is a Russian cat. At this moment he is a very unhappy cat, so he cries. This is natural, I think.”

  “Why’s he so unhappy?” I found myself asking her.

  “Because he is angry with me. He likes to stay in my house in Moscow. He does not like to travel. I tell him, ‘how can I go to sing in opera in London if we do not travel?’ He does not listen. When we travel he always make big fuss, big noise. When I let him out of his basket, he will be happy again. I will show you.”

  Sure enough, the moment Kaspar climbed out of the basket in the Countess’ sitting room, he fell completely silent. He tested the carpet with one paw, and then leaped nimbly out and began at once to explore. That was when I first understood just why the Countess called him a Prince of cats. From his whiskers to his paws he was black all over, jet black, and sleek and shiny and beautiful. And he knew he was beautiful too. He moved like silk, his head held high, his tail swishing as he went.

  I was about to leave the room to fetch the rest of her luggage, when the Countess called me back, as guests often did when they were about to give me a tip. Because of her title, and her ostrich feathers, and all the fine luggage she had arrived with, I was very hopeful by now that the tip might be a generous one. As it turned out she didn’t want to give me a tip at all.

  “Your name? I wish to know your name,” she said, removing her hat with a flourish.

  “Johnny Trott, Countess,” I told her. She laughed at that, and I didn’t mind, because I could tell at once that she was not mocking me.

  “That is a very funny name,” she said. “But who knows? Maybe for you Kandinsky is a funny name too.”

  By this time Kaspar had leaped up on to the sofa. He sprang off again almost at once, and went to sharpen his claws, first on the curtain, then on one of the armchairs. After that he went on a tour of the room, behind the desk, in under the piano, up on the window ledge, for all the world like a prince inspecting his new palace, claiming it, before settling down on the armchair by the fireplace, from where he gazed up at us both, blinking his eyes slowly, and then licking himself, purring contentedly as he did so. Clearly the prince approved of his palace.

  “He’s a very smart looking cat,” I said.

  “Smart? Smart? Kaspar is not smart, Johnny Trott.” The Countess was clearly not at all pleased with my description of her cat. “He is beautiful – the most beautiful cat in all of Russia, in all of England, in all of the whole world. There is no other cat like Prince Kaspar. He is not smart, he is magnificent. You agree, Johnny Trott?”

  I nodded hurriedly. I could hardly argue.

  “You wish to stroke him?” she asked me.

  I crouched down by the chair, reached out my hand tentatively and stroked his purring chest with the back of my finger, but only for a second or two. I sensed that, for the moment, this was all he would allow. “I think maybe he likes you,” said the Countess. “With Prince Kaspar, if you are not a friend, you are an enemy. He did not scratch you, so I think you must be a friend.”

  As I stood up again I noticed she was fixing me with a searching look.

  “I wonder, are you a good boy, Johnny Trott? Can I trust you?”

  “I think so, Countess,” I replied.

  “This is not good enough. I have to know for sure.”

  “Yes,” I told her.

  “Then I have a very important job for you. During each day I am here in London you will look after Prince Kaspar for me. Tomorrow morning I begin rehearsal at the opera. Covent Garden. Magic Flute. Mozart. I am Queen of the Night. You know this opera?”

  I shook my head.

  “One day you will hear it. Maybe one day I shall sing it for you on the piano, when I practice. Every morning after breakfast I must practice. Prince Kaspar, he is happy when I sing. At home in Moscow he likes to lie on my piano to listen to me, and he waves his tail, just like now. Look at him. This is how I know he is happy. But when I am at rehearsal I must know that you look after him well, that he is happy. You will do this for me? Feed him for me? Talk to him? Take him for a walk outside, once in the morning, once in the evening? He likes this very much. You will not forget?”

  The Countess Kandinsky was not an easy person to say no to. And anyway, the truth is I was flattered to be asked. I did wonder how I would be able to manage it in between my other duties downstairs. But I wondered also whether maybe she’d give me a good tip for it, though I certainly didn’t dare say anything about that.

  The Countess smiled at me and held out her gloved hand to me for me to take. I hesitated. I had never before shaken hands with a guest. Bell-boys just didn’t ever shake hands with guests. But I knew she meant me to, so I did. Her hand was small and the glove very soft.

  “You and me and Prince Kaspar, we shall be good friends. I know this. You may leave us now.”

  So I turned to go.

  “Johnny Trott,” she said, laughing again. “I am sorry, but you have a very funny name, maybe the funniest name I ever heard. I have decided you are a good boy, Johnny Trott. You know why I think this? You never ask for money. I shall pay you five shillings every week for three months – I am here for three months at the opera. Ah, so now you smile again, Johnny Trott. I like it when you smile. If you had a tail, you would be waving it like Prince Kaspar, I think.”

  When I brought up her trunks later on and left them in the hallway of her suite, I heard her in the sitting room singing at the piano. I caught a glimpse of Kaspar lying there right in front of her, gazing at her, his tail swishing contentedly. When I left I stayed outside the door for a while just listening. I knew even then as I stood there in the corridor that this was a day I would never forget. But I could never have imagined in my wildest dreams how the arrival of the Countess and the coming of Kaspar would change my life for ever.

  Not Johnny Trott at All

  I never had a mother, nor a father come to that, nor any brothers or sisters, none that I know of anyway. Not that I have ever felt sorry for myself. The truth is that you don’t miss what you’ve never had. But you do wonder. As a small boy growing up in the orphanage in Islington, I often used to try to imagine who my mother was, what she looked like, how she dressed, how she spoke. For some reason I never much bothered about my father.

  I must have been about nine years old, and on the way back from school one day, walking down Tollington Road, when I saw a fine lady passing by in a carriage. The carriage happened to stop right by me. She was dressed all in black and I could see she had been crying. I don’t know why, but I smiled at her and she smiled back. At that moment I was sure she was my mother. Then the carriage moved on, and she was gone. For months afterwards I dreamed about her. But as the memory of that moment faded, so did the dream. I had other imaginary mothers of course. They didn’t have to be posh or rich, but I
certainly didn’t want to believe that my mother might be down on her hands and knees scrubbing someone’s doorstep, her nose and hands red and raw with the cold. Above all my mother had to be beautiful. She couldn’t be too old and she couldn’t be too young. She mustn’t have children. It was essential to me that I was the only child. And of course, she would have to have fair hair, because I had fair hair.

  It was natural then, I suppose, that within a few days I had quite made up my mind that Countess Kandinsky fitted the bill perfectly. She was fair-haired, supremely beautiful and elegant, about the right age to be my mother, and so far as I could tell, childless. So if she was my mother, it followed that I had to be a Russian count or prince – I didn’t much mind which. The more I thought about it, the more I liked the idea, and the more I’d daydream about it. I would lie awake in my little attic room up on the servant’s corridor, where the roof leaked and the water pipes gurgled and groaned, and I’d dream my dream, knowing of course that it was probably all nonsense, but believing in it just enough for me to be able to enjoy it all the same. Thinking back, I’m sure it was this silly fantasy, as much as my cat-minding duties that made me look forward so much to visiting the Countess’ rooms while she was at rehearsals. I went up there at every possible opportunity, as often as I could manage, without my absence in the lobby being noticed. I was always up and down in the lift, carrying luggage, and each time I’d just slip away for a minute or two and check on Kaspar. Mr Freddie noticed of course – he noticed everything.