FOUR

      On Monday, instead of double geography and French, I went back to the mini cab office for another look at the urn. There were more people around, the shops were open on the high street and there were some last ditch battles for parking. Basically, a much less attractive place when awake, but the mews itself was pretty quiet. There was a lady walking up and down and the way she was walking had this strange rhythm, like four steps forward – stop – up on tiptoes – stop – three steps forward – stop, and when she got to the top of the mews she turned round and started again.

      When I passed her she said, “Sorry to ask, but can you spare a cigarette?” and she made me jump and I said “No” and took my hands out of my pockets to show her I wasn’t hiding any. And I wasn’t, because I might smoke weed now and again, but I would never smoke tobacco for these reasons, among others.

      I stood outside Apollo Cars for a while, with the lady pacing behind me, and I tried to think about what I might say when I went in. There were those vertical Venetian blinds in the window, like you see in dentists and too-trendy apartments, the kind that are made out of plasticky cardboard pieces held together with cheap chains made of tiny ball bearings. The blinds were really dirty, but I liked the way they cut up the view inside, as if somebody got a photo of a minicab office out of a magazine and cut it into strips. If I took a step to the right I could see the urn on its shelf, and if I moved back to where I was it disappeared from view and I could see somebody’s profile and the front page of two different newspapers. The urn looked so precious in there compared to everything else, so completely out of place.

      Anyone walking into the mews just then would have seen a lady with a demented walk and a boy hopping from one foot to the other, and would most probably have turned round and walked back out again.

      As soon as I went in I knew I hadn’t really thought this thing through. I was way under prepared. I could hear my blood shushing through my ears like a pulse. For a start, I’d been standing outside for longer than I realised, arousing suspicion. Tony Soprano was halfway down his stairs already. Whether he remembered me from the other night or not, he had every right to think I was a nutter. I was sort of hovering on the spot, smiling like an idiot. And anyway, paying a call on the remains of a dead stranger isn’t the sanest thing I’ve ever tried to do.

      He asked me if I wanted a cab and I said no, and then when he turned his back to me I changed my mind and said yes, and he laughed and asked if I had any money, which I didn’t. Then he told me to leave, which wasn’t the cleverest time to ask him about the dead lady. He walked right up to me then, younger than he looked, sallow with grey bags under his eyes and cigar breath.

      This, as far as I can remember it, is the conversation I had with Tony Soprano.

      Me: Why have you got a dead lady’s ashes?

      TS: What’s it to you?

      Me: Is she yours?

      TS: What? (Looks at colleagues) What a question!

      Me: I mean did you know her? Was she a relative or something?

      TS: No.

      Me: What are you going to do with her?

      TS: Who? None of your business mate.

      Me: Well—

      TS: When they collect they can do whatever they want.

      Me: Who?

      TS: The family, whoever left her, who d’you think?

      Me: Are they going to?

      TS: No idea. You’re not touching it. Get that idea out of your head right now.

      Me: What’s her name?

      TS: (giving me the hard stare for the count of five and sighing) If I tell you, will you sod off?

      Me: Yes

      TS: (picking up the urn and showing me the metal plaque on the side that reads VIOLET PARK 1927 – 2002) Now sod off.

      It was like a light going on in my brain.

      I read once in a comic about readiness potential, the way your brain is always one step ahead of you, even though you think you’re the one in charge. It’s pretty complicated, but I think I understand it and it goes like this.

      First you have to get the difference between action and reaction.

      Action is throwing a ball and reaction is dodging out of the way when you suddenly realise that the ball’s going to hit you.

      Your brain is firing signals all the time, telling you to scratch your nose or smile or put one foot in front of the other when you’re walking. But some things you do, like blink or drop a hot piece of toast, you couldn’t possibly know you were going to do beforehand because you didn’t see them coming. That’s where your brain proves it knows everything before you do, because it has to send the signal and the signal takes time.

      This is called the readiness potential, the way your brain tells your body what to do before even you know you need to do it.

      And what reminded me of the readiness potential thing was that when I read Violet’s name, I realised I knew it after all, before he showed it to me, even though there was no way I could. I heard it in my head just before I saw it written down, like when you watch a film and the dubbing’s out, so you hear what people say a bit before their mouths move. Right then I was pretty wired about it. I was thinking about that conversation-with-a-dead-pensioner feeling I’d had on the hill and I was sure that the only way I could have known her name was that she’d already told me.

      It flew around in my brain like a pigeon trapped in a building, flitting through the spaces, clattering against the sides. V-I-O-L-E-T. A good strong name; a name that’s a colour and there aren’t many of those around, and also a flower, soft and pretty and old fashioned, the perfect name for a dead old lady.

      It was all I could do to stop myself from grabbing the urn and running off. I felt like her only hope at that moment. She’d been dead long enough to know there was no one coming for her. It still makes me sick to think of her stuck there since I was eleven, the same time as my dad went wherever.

      Tony Soprano put Violet back on the shelf. I’d promised to leave and he was going to hold me to it. To stay calm on the way out I made a list in my head of all the good reasons to make friends with a dead lady in an urn.