The Unbreakable Trilogy. Primula Bond
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me, that’s normal business, but I can see nothing and no-one because it’s pitch dark in here.
I can only hear a kind of grunting, smell musky sweat, I can only see a strip of daylight on the floor, and as someone bends me further forwards and pushes something between my butt cheeks, nudging into the reluctant tightness of my bottom, it’s a finger, no, two fingers, something else thick and hard, I stretch out to scrape at the strip of daylight and all at once it is gone and in its place the chamber is full as the yellow sky crashes right in along with grey clouds and choking piles of dry dust.
The pillows are pressing down on my head as I clutch at fragments of the nightmare. I fling them off me and thank goodness I’m not in the dark chamber of a brothel at the foot of Vesuvius but in a quiet attic in the middle of London. Far from the world being hot and yellow and about to erupt, it looks cold and grey out there and only good for staying warm in bed.
In the morning light this room seems bigger than it looked last night. I am dazzled by all the whiteness, the light flooding in framed by three arched windows. Hanging on the door of the wardrobe is a pale blue jersey dress I didn’t notice before and a brand new pair of shiny brown boots. My caramel tweed jacket is arranged over the dress, the blue check picked out perfectly by the dress. I wash quickly in the little white bathroom and get dressed.
There is a romantic-looking balcony outside the window and although it’s windy and cold out there I step outside to blow the cobwebs away.
Down below my window is the quiet square, and there’s the sad statue on its plinth, poised for flight and gazing straight at me which is strange, because the other night he was positioned facing down the hill. Parked outside the house is a huge silver Audi four-by-four with a chauffeur standing beside it, built like a tank and uniformed to the hilt. The chauffeur glances up at me and taps his watch.
The exhibition is complete and ready for tonight’s private view. The gallery looks superb. Better than any graduate show could ever hope to look. Slick, sophisticated, sorted. In the space of a few days my best images have been printed, blown up, framed and hung. The huge space at the top of the Levi Building is filled by my work. My work! I wish my dear old tutor was here to see this.
There are acres of whitewashed wall with meaningful clusters of mostly black and white photographs grouped according to theme or place. I have spent the day standing on a chair in the middle of the huge empty space of the gallery like Boadicea directing a small army of workers to group the pictures into themes.
Now each picture is labelled with the legend I had carefully stored on my camera and thought I’d lost. My name and the title of the collection – Halloween – are all signed in cool, lower-case font and they’re the first things you see when you come out of the lift.
I’ve been home to the flat and chosen a long red sheath dress of Polly’s to wear for the private view. It’s pretty daring and vampish, a halter neck slashed between my breasts to the navel, then draped across the hips in the style of a Grecian goddess.
Gustav has been absent all day, but the instruction he’s given the tall spiky lady from downstairs, whose name I now know is Crystal and who told me earlier that my jacket and dress and boots were not suitable for evening wear, is that I must appear in something extremely glamorous.
Crystal is here, too. Her guise tonight is as a waitress, hence her uniform of tight black skirt and starched white blouse. Dickson the chauffeur is serving drinks, too, in his shirt sleeves. He looks as if he’d be more comfortable manoeuvring machine guns rather than ferrying hors d’oeuvres. As the evening takes over, prompting lights to come on all over London, the three of us bustle about stocking up the temporary bar that has been set up by the window. Boxes of wine and champagne, trays of canapés have all materialised while I was back at the flat getting ready.
Across on the South Bank the theatres and restaurants and galleries light up one by one, and the London Eye slows to a halt. I take a picture of it, and of the gallery, and wish Polly was here to see this.
‘Exactly as I would have designed it. Everything shown off to its best advantage. Good work, everyone.’
The lift opens like the curtains of some grand stage, and Gustav marches out across the poured concrete floor, rubbing his hands against the cold. He seems to suck all the air in the space towards him, leaving everyone else stunned and waiting, like a row of night creatures mesmerised by oncoming headlights.
His black hair is slicked back like the Godfather this evening, making him look positively sinister and intimidating. Film-star bad guy, not low-life Mafioso. His charcoal pinstripe is cut slightly looser than the sharply tailored grey one of yesterday. My stomach twists and turns like an autumn leaf because I know what lies beneath that suit. What was deep inside my mouth last night.
Snared by sudden nerves I start stacking a pile of catalogues to hide the urge to go to him and as I do so the column of prices catches my eye. They have not been fixed to the pictures themselves and I gasp with greedy delight. Gustav has priced each of my prints at more than two thousand pounds. Some as much as five thousand. Not so expensive as to be off-putting, but way above anything a humble graduate could normally command.
‘Good evening, Miss Folkes.’
He comes up to me and calmly, right in front of Crystal and Dickson and any guests about to arrive, snaps the chain from his watch back onto my bracelet. No-one bats an eyelid. Maybe that’s because if you are at any distance you can’t see the silver chain joining us.
‘Good evening, Mr Levi. I can’t thank you enough for this opportunity. The exhibition looks superb.’ I lean back against the desk to look at him. He’s tossing a small key up and down in his hand.
‘As do you. I can’t wait to see the reaction of all our guests.’
‘What’s that you have there?’
He holds the key up like a talisman, his black eyes glittering wickedly. ‘It’s the key to my house. I want you to have it. I missed you when you left this morning.’
I gaze at him, my stomach in a knot. Remembering what we did to each other.
Polly would try and fail to keep a straight face if I told her. You stayed over, but you didn’t go the whole way? What’s wrong with him? What’s wrong with you?
‘It – it was a lovely evening, Gustav. Who knew you could cook like a dream?’
We smile secretly. Who knew you could make me come like that, just licking me? Yes, Polly. You’d be proud. Because I swallowed, just like you told me.
I glance across at Crystal and Dickson, polishing glasses and holding them up to the window. Above the lift the lights come on.
‘The private view is about to start,’ I stammer. ‘Did you want to discuss anything?’
He presses me back against the desk so that the glass edge of it digs into the back of my thighs. His breath blows across my face as he pushes my legs open beneath my red dress, moves his hand gently beneath the material to the top of my thighs.
‘Not discuss. Tell. I want you to come and live at the house with me. Starting from tonight.’
There is a flurry of voices over by the lifts. Crystal and the chauffeur glide about with trays of glasses. Music starts to play, echoing round the space like a night club. More elegant jazz, soothing the day away. Gustav clicks the key onto my bracelet and with a slow wink he moves away, tucking a few catalogues casually under his arm like a priest master about to deliver a sermon.
And of course, because we’re chained together, I must follow.
Several people swarm over to me at his introduction. Reviewers, mostly, magazine columnists, one or two other gallery owners. I have to swerve subtly as I greet them shyly, so the silver chain doesn’t get entangled. Or snap.
Soon the entire gallery is full to bursting. Crystal has been positioned by the lift with a stack of catalogues, but now she glides up to me and Gustav.
‘Already five sold!’ She