The Machine

1

She opens the door to a deliveryman, and the Machine, which has come in three parts, all wrapped in thick paper. Each of the parts is too big to get through the door.

We’ll have to try the window, the man says.

She shows him which one it is, along the communal balcony. It’s already at its widest, to let some air into the flat, to try and counteract the invasive heat from outside. Still not wide enough, so the men – the first has been joined by another from the van, having just heaved another thick cream-paper wrapped packet the size of a kitchen appliance from the van, and left it leaning against the bollards – tell her that they’ll have to take the window out.

We’ve got the tools for it, this other man says.

Beth stands back and watches as they unscrew the bolts on the attaching arms, and then lift the whole sheet down. Others in the estate have stuck their heads out of their windows, or come out of their front doors to watch. Next door, the woman with all the daughters stands and watches, and her girls run around inside. The littlest one stands at the woman’s legs, clutching onto her skirt.

Gawpers, the first man says. Always wanting to know what we’re up to.

The deliverymen don’t know what’s inside the packages. They’re just paid to deliver them. Beth wonders if she’s going to be able to assemble it herself, or if she’s better off asking them for help. Slip them a fifty, they’d probably stand around with her for an hour and figure it out. She doesn’t know how easy it will actually be: if there will be wires, or if it’s just a case of plugging the pieces together. The man she bought it from said it would be simple. They struggle up the stairwell with the first piece, stopping to mop their brows. They still wear dark-blue overalls, in this weather, and their now-sweaty palms leave dark-brown prints on the paper wrapped around the Machine’s pieces. The first piece makes it through the window maw, twisted in the frame as if this is one of those logic games. Manipulate the pieces.

Right, the first man says. Where do you want them?

In the spare bedroom, Beth tells him. She indicates it through, pointing the way past the living room. The room is light and airy – or as airy as it can be nowadays – and decorated like it’s a master, with an expensive-looking bed. Wallpaper not paint, with a different dado rail, a thick yellow colour contrasting with the impressed patterned cream of the walls. The room looks untouched, like nobody’s ever lived in it. The bed is made, the sides of the duvet tucked in below the mattress. There’s potpourri on the dresser in a simple golden metal dish, but not enough to stop the faint smell of dust. The sunlight, through the window, hits the dust, a cone of it floating in the air.

Anywhere?

By the back wall. I’ve cleared a space for it. She rushes past, ducking down in front of him, making sure that the space is still clear, then helps him lower the first package.

What the bloody hell is this thing? the man asks.

Exercise equipment, Beth tells him. That’s an answer suggested by the man who sold the Machine to her. In his email, he told her that he would write that on the form for the collection, and on the customs form. He was French, and Beth had had to translate his email using the internet, only the occasional word making her stumble. Still, she got the gist.

Jesus, the deliveryman says as he puts it down – the French seller has marked the packages with arrows, showing which way up they’re to be carried and stored – and stretches his back. He’s wearing a thick black harness around his waist, which he pats. Lifesaver, he says. They make us wear them now, for the insurance. We take them off in the van, when we’re done. Fucking hot though, wearing this along with the rest of the get-up. He stretches again, more exaggerated this time. His friend shouts from the window, where they see he’s positioned the next piece – this one long and thin at one end, bulbous and clunky at the other, meant to stand tall, taller than any of the people in the flat – halfway through the window. He’s straining to hold it up. Beth sees that the arrows (marked with thin, shaky writing that says THIS WAY UP) are horizontal. She wonders if that’ll affect it in any way.

Come on, the man says, can’t hold it. The other one takes the inside end and they work it through.

Same place? the first removal man asks. Beth nods, and then he asks for something cold to drink, which she prepares – iced tea, in the fridge – as they both struggle with it through the tight doorways and narrow corner into the room. She’s got two glasses on the side ready by the time that they’re done with that piece, but the first man – clearly the superior of the two, older and wiser and with a company t-shirt on under his rote blue overalls – waves them aside. Last piece, then we’ll have them, he says. Beth watches them both at the van, which they’ve parked at the bottom of the estate, by the bollards that prevent cars driving right up to the buildings themselves. They look at the last piece, which is nearly the same shape as the first, only somehow wider, more unwieldy, and they both laugh. She knows that they’re talking about what it is. Speculating. They’ll know it’s not exercise equipment. They’ve handled exercise bikes before. They do this for a living, and the wool can’t be pulled over the eyes of those who will know the weight and shape of an exercise bike or a rowing machine. She watches as they finally heave the last piece up between them, up the stairwell and into her flat through the window space. Their sweat drips from their heads and onto the concrete slabs, and the Machine.

It needs to be a certain way, she says. Would you mind? They shrug, and she tells them. The pieces have been labelled with numbers showing where they connect, drawn on the outside of the wrapping.

This is like Tetris, the first man says. The younger man laughs. They back up and look at it when they’re done, and the wall is essentially filled by the wrapped packages. The light that came through the small window is totally blocked now, and the room is suddenly darker, thrown into the shade of the still-wrapped packages. You all right with this now? the older man asks. He hands Beth a sheet from his back pocket, and a pen. Sign this and we’re all good. They gulp their drinks back as she signs her name three times, and then leave the glasses on the side. They replace the window back in minutes. These things are all designed to be taken apart and put back together so quickly now, the first man says. Everything’s a bloody prefab, right? He smiles at Beth as if she doesn’t live here, as if she’ll be in on the slightly snobbish joke with him. To her surprise she laughs, to back him up.

I know, she says. Thanks for everything. I really mean that.

No problem. She waits until they’re back in their van – they stand at the rear of it for a few minutes examining what they’ve got left on their sheet of deliveries, and where they’re heading next, wiping their foreheads on their sleeves and on a towel, gasping for air – and then watches them drive away. Then it’s just her and the flat and the Machine.

2

The paper pulls away from the Machine with relative ease. She’s surprised that it didn’t tear during the move. A few bits she has to attack with scissors but most of it rips away easily, and then she’s left with the Machine itself. She stands back, on the other side of the bed, against the far wall. She sizes it up. This one is bigger than she remembers.

The pitch-black casing is grotesque, she thinks. It seems so vast. She hasn’t joined it together yet, not where the clips and bolts require, but she can see it as if it was complete. On its side, a coiled power cable waits, like an umbilicus. The Crown has a dock above the screen, in the centre, and the whole thing seems unreal. She looks at it for too long, at how black it is. It almost fills the entire wall, and the shadow it casts is deep enough that she can’t see the wallpaper past it. This was the only place it could go, because of the shape of the room. She tries to move as far back as possible and take it all in, but it isn’t possible. It’s like a cinema screen when you sit near the front: never entirely encompassed by your vision.

She knows, to the day, how long it’s been since she last saw one of these. The last one was very different in some ways: it was smaller, she thinks, and the Crown wasn’t docked as it is in this one. It was wireless, where here there’s a thick cable that looks like it’s got sand stuffed inside it to keep it taut, and other lumps and bumps along the length of the pale-coloured rubber. The Crown itself is less flashy as well. This is definitely an older model, but she wasn’t looking for a new one. In the newer models, you couldn’t change anything. Firmware updates were automatic. The guides on the internet told her that she needed one she could change, and this was all she could find. Even then it was hidden away amongst useless husks and books and videos. She had to email the man directly to ask if he had any working Machines, and it took four emails (making her jump through hoops) before he trusted her enough to tell her his prices. This one was the oldest of the old. She still paid through the nose for it. But it was the only one she had found in six months of searching, and she hadn’t spent any money for the last few years beyond the essentials. This was a long-term plan, and she had saved accordingly. The email where he wrote the figure she would owe him made her cry: not from the enormity, but the relief.

She goes closer to the bulk of it. She remembers the one that Vic had during his treatments, and the way that it used to vibrate. They explained to her, once, about the power needed to run it. It’s one of the most powerful computers in the country, they said to her. (She supposes that, were they to be invented now, they would be put into a smaller package: something the size of a briefcase, maybe even as small as a telephone.) It used to vibrate right through the floors, and Vic would sit in the chair next to it and his teeth would chatter as he clenched them together, because he was bracing himself. The early sessions were the hardest. This Machine here isn’t even plugged in yet, and yet Beth puts her hand on it and would swear that she can feel the vibrations. The metal itself – that’s what it’s made of, some thick alloy that she couldn’t even name, that isn’t like anything she’s got in the house, not aluminium cans or the wrought-iron picture frame or the steel of that lampshade, but something else, like the material that the thing is made from was this shade of black to begin with – is coarse and cold, and she would swear carries some sort of residual shudder. She takes the plug from the side and uncoils it, and runs it to the base of the bed, where the room’s only sockets are. So much is wireless now and yet this needs hard-wiring. The ones that Vic used before were actually attached to the wall, part of the complex that they had to visit. They were monitored.

She goes to work on the bolts. They’re all hand-driven, none requiring custom tools, which is good. Some of them have connectors that need to be touching, but the deliverymen got them mostly lined up for her. All the insides are driven by conductive metal rather than wires, which makes them easy to assemble. Foolproof, even. The pieces sit perfectly flush when they’re connected and lined up, and it takes a bit of effort – heaving them a centimetre this way, a millimetre the other – but they satisfyingly click together. She can’t even see the lines between pieces when it’s done: it’s like a solid lump of black metal from the front, no seams, like something carved from the world itself. It looks, she thinks, almost natural. Like rock.

She drags the plug from the side and plugs it into the wall, and then strokes the screen. Doing this is like instinct. The screen flickers to life. There’s the familiar triple tone of the boot noise – ding-ding-ding, ascending and positive, full of optimism – and then the screen is awash with light. Beth hadn’t realized how covered in dust it was. She doesn’t know when this thing was last turned on, but the clock has reset. She pulls her sleeve down over her hand and wipes the screen off. She’ll do a better job later, but she wants to check that this all works before she gets her hopes up. The interface is exactly as she remembers, all big colourful buttons and words driven by positivity. Nothing negative. Even in the act of taking away they were reinforcing. PURGE, COMMIT, REPLENISH. She presses a button, through to sub-menus. There’s a button that offers her the chance to explore the hard drive, which she presses, but the drive is clear. That’s what she’d hoped for. She didn’t want somebody else’s memories lingering here. She heads out of the room and into the other bedroom, her bedroom. Compared to the Machine’s room, it’s chaos. Clothes everywhere, on the floor and bed, – she sleeps around them, making nooks in them where her body lies – and the walls stacked high with vacuum-packed bags full of clothes that she hasn’t worn in years, or that she kept of Vic’s. She keeps the hard drive under her bed, because that seemed like the safest place. If she got burgled, she didn’t want them to take it thinking that it would be worth anything. Pulling it out – it’s been in a box with remnants of who she was before, old library cards and birthday cards and childhood photographs – she walks into the room and sees the drive appear on the screen as she gets closer. It’s a first-generation capacitive wireless device, able to pick up on other wireless items in the vicinity and read their drives. A new option appears on the screen: a cartoonish image of a hard drive. She presses the button – her hands are shaking, because she’s worried that the drive might have wiped itself or corrupted over the past couple of years (ever since she backed up the contents from an older drive one New Year’s Day as she worried about it, worried about the life-span of these things) – and there it is: a folder named after her husband. She presses his name and waits as it loads.

3

There are hundreds of files inside, all date-stamped, and all under an umbrella of his name. She presses the first one, which she can barely remember being recorded because it was so long ago, and waits as it loads. A bar appears on the screen and an icon of a play button. She presses it and the Machine starts thrumming. The file starts loading. The technology isn’t there with the size of these files: the pristine nature of exactly what they’ve recorded, and how long they are. The amount of data that they contained inside the packets of the audio files themselves… Everything important. The audio is essentially worthless. It’s wrapping paper. But the files are enormous, and streaming them all is impractical. It would take far too long; too much waiting for them to load. She should be using the hard drive of the Machine itself, but she wants to check it works first. That, and she wants to hear him. She’s too eager.

Then the first file is done queuing itself up, and it plays automatically, and she hears somebody clearing their throat in the background, the click of something. Somebody sitting down. She doesn’t know where the speakers are in the casement, but they’re somewhere, or it uses the metal itself as a speaker. Maybe that’s where the vibrations come from: internal sound channelled outwards. She saw that once, when she was a teenager: something you could plug your iPod into and it would turn any glass table or window into a speaker. She remembers being impressed by it: as the boys that she knew ran around her parents’ house plugging it into everything they could find, dancing in their room full of art pieces as the glass covering a statue that her father described as priceless vibrated with the sounds of trilling keyboards and squawked singing. They danced on the rugs, because of the novelty of not being able to hear their own footfalls.

The first voice she hears is that of a stranger. It must be one of the doctors who had worked with him.

We’re ready? Can you say your name for us? it asks.

Victor McAdams. His voice is suddenly full in the room. She can’t remember exactly how long it’s been since she heard his voice talking properly, saying sentences. Long enough that it’s become a memory, rather than something tangible. She’s forgotten how deep it was. How it cracks at the higher end. The trepidation as he says their surname, and the pause that hangs in the air afterwards. She can hear him breathing.

And could you state your rank and ID number, for the record?

Captain. Two-five-two-three-two-three-oh-two.

Great. Don’t be nervous, the voice says to him. You know why you’re here?

Yes sir.

Don’t call me sir. My name’s Robert. First-name terms here, Victor.

Vic.

Vic it is. Beth hears the smile. Shall we begin? Beth stops the recording. The voices hang in the air, like the dust. It works. The files are intact. Her first worry dealt with. She presses the screen and goes back a few stages, back to the central menu, and ticks the box to copy the contents of the drive to the Machine itself. The vibrations start as it accesses its drives. It’s older than her tiny hard drive by a couple of years, and she thinks about the information – about the recordings of Vic’s voice, pages and pages of entries where he sat in a room and spoke about the things that he didn’t want to remember any more – she thinks about it all expanding as it fills the drive of the Machine. It gives her a time-bar for the download, of hours rather than minutes. The slowest crawl. She goes to the main room of her flat and thinks about how she should tidy more. It’s become worse since she invested in this project, stealing both her time and her energy. The kids have suffered most: mountains of marking sit by the front door, and she knows that they need to have most of it done before the summer holidays. Her deadlines are theirs. She has six weeks coming up, and she’s planned how she’ll break it down by the day. She’s begun stockpiling food and provisions: the kitchen is brimming with canned foods, and the bathroom has toilet-roll packets stacked behind the door. The plan involves her not leaving the flat for the first week because Vic will most likely need her. He won’t be able to be left alone for more than a couple of hours, not for at least that time, and probably much longer. The schedule of how those six weeks will work is punishing, she knows, but needs must. She has printed them out, a week per sheet of A4 paper, and she’s put them on the fridge under a large magnet that Vic was given by his parents when he was a child, that he hung onto. She’s kept it as well, like a trophy. Proof that he was once real. She can tell that people don’t believe her, when she talks about him. It’s like he’s a ghost. She says, He used to be a soldier, and they smile, and they ask where he is now. She tells them that he’s away, serving still. They look at her – or, if she’s let them past that barrier, at her flat – and they know that it’s a lie. Nobody’s away serving any more. Everything where they were is rubble. So she has to tidy, and she has to make sure that she knows exactly how the Machine works. Two weeks before the end of term.

She has videos on the computer, kept on the desktop. They’re taken from a forum about these things, where she’s nothing more than a username that bears no relation to who she is. Numbers and letters chosen at random, on purpose. She doesn’t know if the forums are monitored – or who would be monitoring them – but just in case. She grabbed the videos over one long weekend, determined in case the site ever suddenly disappeared. She’s renamed the videos with numbers, so that she knows what order she’s learning them in, and she’s already watched them tens of times, but never with anything to practise on. It’s different when there’s a practical application. Plus, there’s a difference in the firmware in the Machines, and she needs to know exactly what she’s playing with. She thinks that she should check it, so she goes back to the bedroom. It’s the first time she’s been surprised: before, she pulled the paper off, and exposed it piece by piece. Now she sees how big it is for the first time, and the mass of blackness seems to make its own negative light, casting the rest of the room in a shadow of its own making. And it seems so tall to her. Impossibly tall. The ceilings are high, ten foot, and this wasn’t much taller than the first removal man, but it seems to fill almost every bit of the space. She tries to see on top of it but can’t, so she idles in front of it. The screen is still active but on standby, the colour and brightness dampened. She presses it and the whole Machine whirs into life. The noise – she hadn’t noticed it before, but it must have been there – is like gears, as if this were some nineteenth-century apparatus. Something almost industrial. She knows that this is a computer, and that what’s inside is fans and microchips and cables to carry processes from one part to another; and the hard drive, never forget the hard drive, which is both the brain and the heart of the Machine – but the noise is unlike any that she’s heard. She supposes that she’s forgotten: that things have changed since this was cutting edge. She thinks about the newer models of the Machine, the ones after this. How much one of them would have cost her, even if it could be hacked and updated like this one has been. That she would have been here in a decade still, forming her plan, slowly losing herself, alone for so long, with Vic’s body rotting more and more. Less her husband with each passing day, week, month, year.

The screen gets lighter, and she sees the button labelled ABOUT. She presses it, and there, a year and a firmware number. She reasons that this must have been one of the first commercial models, before even her mother started on the programme, and well before Vic was using one. She pulls the Crown down from the dock and the screen changes, updates. PURGE, it invokes, or REPLENISH. Like this is some sort of advertisement. She’s seen the language on both beauty products and bleaches. She doesn’t put the Crown on her head, because she dare not.

She’s thought about it, sometimes: as she’s tried to get to sleep, lying in bed, thinking about how easy it would be to wear a Crown, to press the buttons and to talk about Vic and herself, and their old life together. To talk her way through everything that she’s lost. To press the PURGE button and feel it all drift away. Vic used to say that it felt like when you take painkillers for a wound. He said that they gave him heavy stuff after the IED went off and put its shrapnel in his shoulder and his neck, and once he’d popped them there was a sense that it had once hurt, but that it was like an echo of the pain was all that was left, or the memory of the pain. Like it’s been rubbed hard and then left alone. That’s what the Machine did. He rarely spoke about it as time went on, but in the early days, before Beth was allowed anywhere near the process, when Vic still knew what he was doing and why he was doing it, he frequently used to describe it to Beth when he got home. They said it would be two weeks before he’d start to lose what it was he was running from, and it was, almost to the day. After that, Beth didn’t like to say anything more. He knew that it was time for his treatments and he didn’t question them. Beth looks at the bar for copying Vic’s files over, and it’s hardly gone down.

Come on, she says, though it’s not like she can do anything with it here and now. She lies on the bed next to the Machine, a bed that she’s never actually slept in because it felt wrong, somehow, ever since she decorated the room. She watches the bar and shuts her eyes, and thinks about Vic and what he could be.

When the company behind the Machine announced that they were working on a cure – they would put the word in inverted commas, because they were so cautious with how they went about presenting it to the world after the last time – they said that the technology side of things was flawless.

They said, We can take a person and make them whole again.

Beth – everybody – doubted it, but then they showed videos of a man and his progress. In the earliest videos he shuffled like a zombie and needed feeding and changing and his eyes lolled back in his head even as his loved ones poked and prodded him, asking him questions, trying to get a response. In later ones he fed himself and walked, and even responded to his name. They showed old video of him ignoring persistent, insistent calls – Shaun, Shaun! – over and over again. Then they invited him up onto the stage where they were making the announcement: and they did it solely by calling his name. Once. Shaun! He ran up, and he shook their hands. He looked at the cameras, and his gaze was a bit glassy-eyed but he was mostly there. He waved at the crowd, and then they asked his wife up there as well, and they embraced on stage to applause. Standing ovation: he is healed.

And this can only get better, the men from the company promised. Beth saw it in their eyes: the idea that this was somehow their redemption. The thing that might stop their houses being burned and people fighting with them in the streets and the headlines on the tabloid sites. They have destroyed thousands of lives and now they’re back, ready to save the day. They said, It takes years of therapy to bring them to this point. It uses our pioneering technologies. The process works best when we’ve got a full and frank medical history, and when you help us.

Shaun was back in another video. This time, his bedside in some hospice somewhere, where the bed was thin and metal-framed and the bed sheets that yellow colour. On his head was a Crown, or what passes for a Crown now: tiny multi-coloured pads designed by a famous South American designer, to make it appealing, placed on the temples and the forehead, tiny lights indicating that they’re all wirelessly connected. His wife talked Shaun through a shared experience from their past that, presumably, had been lost; she’s laughing and squeezing his hands.

We found it so funny, she said, and then you opened the presents, and you had another one, from Mark and the kids. A funny story, and when she laughed at the end, so too did Shaun, somehow simpatico to it all. On stage, Shaun watched the video and then spoke to the audience. Slow and measured, careful with his words.

I can hardly believe this is me, he said. Standing here in front of you. The audience whooped and clamoured.

Shaun represents hundreds of man-hours of work, the doctors said, and it’s not perfect. Shaun’s not perfect. But we’ll get there. By the end of this decade, they said, we hope to be able to offer this therapy to many of our ex-patients. Shaun waved again. The end of the decade made Beth’s heart sink, because that was eight years away. That was so far away that, by the time it arrived, she would have been apart from Vic for more time than they had been together. And that was two years ago. They were asked, over and over, how long it would be before the public could have access to the tech. We don’t want to rush things, they said. They – everybody – wanted to avoid a situation like the first time around: rushed to market, and then thousands damaged, seemingly irreparably. They were cautious, and their ‘end of the decade’ became the start of the next decade, in the post-Shaun interviews. They wanted to wait until it was right.

The internet didn’t want to wait, though. People who knew things, people who worked for the company and hated what they had done, people with vested interests: they all stepped forward under the internet’s veil of anonymity, and they told others how to do it. They leaked firmware, software, instructions; things that somehow they had got their hands on, that they shouldn’t have had. Cloak and dagger, they explained that the Machine could be used to create a new persona in the damaged. It could build them up again, as they were, based on who they were. It could be achieved through talk, through photographs and videos. It was better if you had the recordings of their original sessions. They got together in clandestine meetings, organized themselves to do work for this: on the technology, the software, the work itself. Eventually they had their own case study, their own version of Shaun: a lady called Marcela. She was from Eastern Europe, and Beth didn’t understand what she was saying but she got the gist. Marcela was herself again, in that she smiled and she waved at the camera and the person behind it, and they bent past the lens and leaned in to kiss her and she kissed his bearded face back, and he gave a thumbs-up to the camera.

We used the original recordings to help Marcela, the video said, and that sold it to Beth. Because she couldn’t wait. This was too important to her, and to Vic. When Beth opens her eyes, the on-screen bar is finished: only it says that the files have been moved, not copied. She looks at the hard drive and it’s empty, but it doesn’t matter. Vic’s memories are in the Machine now, and where they should be.

4

The window of her bedroom opens onto a view of what used to be thought of as a field, but now it’s just scruff, cracked dry soil and scuffed-up anthills. They called them the Grasslands when they built this place. The area between the flats and the cliffs isn’t huge, because that was the only way that they could get planning permission, and the most-desired flats had been the ones with the eastern-aspect view: looking out onto all that grass. The residents would remark that they lived in the greyest building on the island, but it didn’t matter, because the view was what you saw every morning. You weren’t looking at the walls. It was meant to be for new overspill from Portsmouth, because the mainland couldn’t expand any more. That was the trick with it being so enclosed: there was no more land to build on. The developers moved across the water, assuming that people would want to live there, but they didn’t. Apart from Beth, that is. The Grasslands themselves were protected because they were so close to the new cliffs, far too fragile to build on. The local council had decided that those flats that had the spectacular views – out to the sea, to the mainland across the way, to freedom – would be put up for sale, and the rest could go to whoever needed them. Back then, when the first proposals for the construction of the site went through, the Grasslands were still green, and the trees dotted around the landscape were all green as well, their leaves almost constantly present. When Beth moved in she didn’t know the names of them, but it helped her, being able to see them so unfaltering: when she was at her lowest, they survived. The trees are still there, now bare or getting there, but the grass is almost entirely gone: it’s now a sickly yellowing orange, almost burnt. It looks the way that lawns used to look in the summertime after kids had played on them: hard, dry soil patches, like liver-spotted scalp peering through thinning hair.

Beth spends the day waiting for the files to copy, staring out of her window at the Grasslands, and by the time she’s remembered that she hasn’t eaten it’s dark outside. She looks at the tins piled in the kitchen and thinks about how many of them she’ll be eating in the weeks – months? – to come, baked beans and spaghetti hoops on toast, and she looks out of her living room window – past the rest of the estate, over towards the street of shops and takeaway restaurants that leads towards the main road – and decides to chance it. She opens the front door and looks around for people, but she can’t see anybody out this side. There’s noise (rustling and cackling) from behind the block, from the Grasslands, but that doesn’t worry her. The only creatures that she ever sees out on the Grasslands are cats, from all around the neighbourhood: a glaring of them masses, like a congregation. They’re not watching her or the flat or anything in particular. They just seem to mass. If there are kids out there – or worse – she can never see them. They’ve become excellent at staying in the dark. She locks the door behind her, and then checks it’s locked, shoving it with her shoulder. When it doesn’t budge she checks the window where the men took it out, pushing it as hard as she can to check it’s secure. Satisfied, she walks down the bridge path, towards the stairwell. The doorway’s open – some of the residents collectively decided to take the door off, because there were times that trouble had waited at the bottom of the stairs, and they wanted to make sure that they could hear it in future – and the lights are on, which buoys Beth. She runs down them, really pelts, and then out into the estate, past the bollards, to the street. She wants something hot. A curry, maybe, or spicy Chinese. She can smell the Indian Palace from the edge of the estate: the restaurant opens their back windows and doors, trying to entice people down. Some nights the whole estate can reek of food, and some nights that’s the last thing that Beth wants to think about. But tonight it’s enough.

Inside the restaurant they’re playing music that Beth recognizes, but in some water-chime musical form. Songs from when she was a child, that she still knows the words to: huge ballads, slow-dance pop songs that once soundtracked hit movies. The waiters all sit around a table at the back, all with half-pint glasses half-filled with lager. Two of the four stand up when Beth walks in.

All right love, one of them asks.

Hi, Beth says. I wanted a takeaway?

Sure, sure. What can I get you?

Chicken korma and a pilau rice, she says. The man nods. He leans back and peers through the door to the kitchen, then nods at the solitary chef Beth can see in there, who’s been leaning against the cookers.

It’ll be a few minutes, the waiter says to Beth. Want a drink?

I’m fine, she says.

She sits at a table by herself to wait, near the window, and she watches the few other people out for the evening, all of them going to get takeaways or hurrying forward by themselves, collars up and eyes down. A group of kids – heads shaven into a step around the back and sides, suddenly popular again, and ripped jeans with smart-looking cheap shirts – walk past: they see her peering out and they spit at the window. One of them undoes his fly and rushes up to her, and she flinches backwards, away from the window. One of them stands at the back and doesn’t do anything but stare, a fixed gaze that won’t break. They all laugh.

Ignore them, the waiter who took her order says.

Bunch of pricks, one of the others says. He doesn’t look up from his beer.

I know, Beth says. The waiter walks towards her table and leans over it. There are curtains that she hadn’t seen, only half-height ones, but he pulls them across, blocking her view of the street, and the kids’ view in.

Better when they can’t see the customers, he says. Beth sits and stares at the curtain for the next few minutes, because she can hear them still out there on the street. They’re laughing about something, down at the kebab house, and there are occasional bangs where they’re throwing something, or hitting something. She thinks about standing up to see what they’re doing, but knows that if they see her it will only antagonize them. She nearly asks the waiters how many times their front glass has been broken. It always looks new, she thinks.

When the waiter comes back with her food (which smells amazing, she thinks, cooked freshly because she’s the only customer they’ve had all evening) he loads it into a plastic bag and throws a few poppadoms in.

You going to be all right? he asks.

Yes, she says. I only live up the hill.

In the estate? He inhales and laughs with the other waiters. I’ll walk you.

Don’t be silly, Beth says.

What else am I doing?

I’m fine.

Look at all my customers, he says. He opens the door for her and stands back, letting her head onto the street first. The boys outside the kebab shop shut up slowly, one by one, falling into line. They’re all some ambiguous age that Beth can’t tell, past the hoods and caps, even in this heat. They’re looking over at them. Just ignore them, the waiter says. He walks next to Beth, briskly, their pace faster even than when she walked down here, and they don’t look behind them. The boys stay quiet, so they don’t know if they’re being followed. Beth pictures it: them dropping their kebabs and cans, leaving them on the side, and then walking behind them as one. Falling into a pack, a tight unit, rapidly advancing, a cloud of dust ready to swallow them whole. That one who stared suddenly at the front, leading the others.

They make it to the lights of the estate, and the bollards. Beth can see her flat from here. At a dash, it’s only thirty seconds away. The waiter stops. You all right from here? He looks back where they’ve come from. The boys are nowhere to be seen.

I’m fine. Thank you so much.

Pleasure. Want to walk me back to the restaurant now? He grins. Joking, joking, he says. Enjoy your dinner.

He heads back down the path towards the road. There’s a bit where there are no lights and he disappears, and Beth waits to see him reappear on the other side of it. When he does she goes into the stairwell, and then along to her flat. She fumbles for her keys, but there’s nobody anywhere near her, and no noise she can hear apart from the background murmur of neighbours’ televisions, and the occasional rustle of a cat. She locks the door behind her, then goes to the kitchen with the bag and unpacks it on the worktop. She peels the lids from the tubs, takes a plate and turns them both out onto it, then sits on the sofa with the plate on her knees, the greasy paper slip of poppadoms on the table. She puts the TV on and tries to concentrate on it. She flicks through channels with one hand, eating with the other. But there’s something else. She can hear it: a buzzing. She mutes the TV, cutting the weather report off midsentence – the symbols all sweating comical suns, not much chance of them saying anything to contradict that – and listens for it. It’s like a fridge, but hers is silent, or an old light bulb about to blow, but hers are all energy-saving modern ones. She puts the plate on the table in front of her and walks around the living room, looking for the source. She can’t find it in here, so she tries the spare bedroom and then remembers about the Machine. The screen is on – still – and the buzz coming from it. Not the screen: just, vaguely, the Machine itself. She can’t pinpoint it, but she’s sure of the source. She puts a hand on the casement and there’s something, a movement. The most subtle vibration.

I should switch you off, she says to it. She leans down to the plug and flicks the switch and the Machine’s screen goes dark. She can still hear the buzz, though, as she goes to leave the room: and as she lies in her bed, staring at the ceiling, thinking about how this is all going to go. And still, even with it this close to actually happening, how she has her doubts.

5

She swims first thing in the morning. Only some mornings – not enough to call it a regime, but more than a habit. Some deep-seated feeling about being so close to – inside, even, beneath and through – something that caused so much destruction and yet is somehow blameless. She gets up before anybody else, when it’s still barely light, and she peels her clothes off and swims out against the waves into the water, and then back: and she stands on the beach and waits for the sun to dry her, which only takes minutes, and then she dresses herself. She doesn’t get her hair wet – she ties it up above her head, a style that she never used to wear, but that’s practical for her, here and now – and she puts her work clothes straight on and then sets off.

Her walk to work takes her along the path that runs adjacent to the coastline. She and Vic had always wanted to live by the sea: they had said that when he retired it was what they would do. (Without him here, she sometimes thinks, this feels almost like cheating on him, with this place instead of another man. She is sure that he would – will – forgive her.) The path is hard ground, old mud that’s faded and cracked underfoot. It falls just shy of the green grass; as she walks she keeps her eyes on that side. On the other side are the roughest blocks, the ones where the people always seem crammed in. These were the last ones built, designed to take the council housing overspill from Old Portsmouth after the flooding. The people there are bitter that they ended up here. They didn’t choose to move: it was their only option, if they wanted to live where they could still keep their jobs. Most of the children from the estate go to her school, and she teaches many of them, or tries to. The worst of her kids invariably come from the worst parts of the island, where their parents have sob stories about how they lost their jobs on the mainland, or their homes. There’s a joke around Portsmouth and Southampton, where they call the island Alcatraz and refer to the ferry that runs six times a day as the prison boat. They don’t try and hide it. Anybody with real money left the island a long time ago. Before this, Beth would have been one of those people: running before they sank along with the rest.

Beth passes some children who clearly have no intention of going to school today (out at this time already, racing around on their bikes, standing bolt upright on the pedals and clipping their wheels on curbs, trying to make the bikes jump off the ground for even a few inches of air), and thinks about persuading their parents to persuade them to go, or to force them. It’s not a cost thing, she knows, because they fought to keep all the schools free when the new Prime Minister took over: it’s an effort thing. They circle her as she walks, flitting between the road and the grass verge. Most mornings they ignore her. Today, one of them rides alongside her as his friends drop back, watching from a distance. She thinks she recognizes him; one of the youths from outside the takeaway house, maybe. Or just from the estate. They all blur into one after a while. Beth pulls her bag closer to her body. She remembers being in London when she was much younger, walking down roads where footsteps behind her might have meant an imminent mugging: she remembers how much that feeling holds you back, steps on your toes as it walks alongside you. She breathes and tries to stare past him, even as he nudges towards her, slightly ahead of her. His hair is clipped short on top, longer at the back and sides – looks like a home-job, clippers rather than scissors – and he is slightly boss-eyed, she notices, as he turns his head back towards her, peers at her from under his drooping eyelids. She wonders if he’s stoned. He’s very young to be getting stoned.

The fuck you looking at? he asks. His friends laugh behind them: she can hear the spokes of their cheap bikes clattering against wheel frames. You looking at me?

She doesn’t answer him. Instead, she stares past him – at the boat in the distance, moored up, ready to take people across the water – and carries on walking. He darts in front of her, swaying across her path, forcing her to keep pausing her steps. He’s only twelve or thirteen, she thinks, but his voice has broken into a full baritone, making him de facto ringleader.

I asked you a fucking question, he says, but Beth still ignores him. She would have taken him to task, in the old days: the Beth who walked along those streets in London and heard footsteps would have turned, stopped, done something surprising to scare them off. They’re all mouth and no trousers, she would tell herself. But here she keeps her head down, because this is how she knows it has to work. No trouble. Every day is exactly the same where this is concerned. Beth carries on walking, heading up some steps and away from the front, even though it’s slightly off-route for her, because she knows that they won’t follow. They stay at the bottom of the steps and stand on the pedals of their bikes, laughing as if they’ve won.

Over the hill she sees the school: the gate that needs a fob to get into the playground, and then the door that requires a swipe of her ID card to get inside the building; and the metal detectors, which used to be something that they threw at troubled schools in America and people the world over laughed at as something that they would never need themselves, because our kids just weren’t like that. Now, there’s two of the turnstiles and a room, to the left of where the security guard stands, which has handcuffs inside and a locked cupboard crammed with mace, tasers, truncheons and a bullet-proof vest, just in case. Because, the Head told them when the decree came to have them installed, you never know.

The classrooms of Beth’s school – which swallowed the other two nearest schools on this part of the island, a primary and a secondary, turning them into one giant institution spanning two campuses – don’t have any air conditioning. The school priced them up, worked out how much it would cost, but it was unfeasible. Even the discounted companies priced themselves out of the running, mainly because the school had one of the lowest budgets of any in the county. Instead, they made do with opened windows and cheap desk fans, often two or three in each classroom, blasting off from one wall, pushing the air away from the desks and ushering it towards the outside.

Beth’s Year Ten form has forty-one students: twenty-four girls and seventeen boys. The ratio makes the boys excitable. They rock against their chairs and jiggle their legs, their feet tapping furiously on the floors when some of the girls do salacious things: taking off their jumpers, wearing shirts that are paler than the rules allow, fanning their skirts when they stand up. One of the repercussions of the heat is that everything becomes sweat-laden, and the school has rules. Shirts must be of a certain thickness; no thin cotton, nothing that can become too transparent in the heat. The class sit on cheap plastic chairs; every day, no matter who is sitting down, there’s a sweat mark on the seat when they leave. Beth hardly sits down at all any more; she leans against the desk, or she paces.

Her class are always late, but it’s excused by all the teachers because of the heat-caused lethargy. Everybody’s late. The parents – those that care enough to attend the biannual meetings about their child’s progress – tell the Head that the kids can’t be expected to be excited.

It’s so fucking hot in there, one shrill woman said at the last parents’ evening. It’s so hot that they don’t want to be there. And if you don’t want to be somewhere, you don’t fucking go there, do you?

Beth sits and sweats and can, some days, barely concentrate herself, let alone expect the kids to. When the children do eventually arrive in her classroom it’s in a single gaggle, a tumble of horny adolescence through the doorway. They sit quietly, because they quite like Beth (even though she’s quiet: they think of her as particularly fair, for a teacher), and she takes the register.

Abrams, is the first name, and he says that he’s there, and she goes down the list one by one. They laugh when they reach Turner, because he’s the butt of all of their jokes, the only fat kid (so fat he’s actually clinically obese, with medical certificates brandished at every opportunity to excuse him from any chance of accidentally doing exercise) in a classroom of children rendered thin by profuse sweating. Beth tells them all to shut up and get on with it. They respect her for that. She doesn’t beat around the bush. And they respect her expectations of them: she only wants them to pass. Anything else is a miracle, a grade above the expected, frankly, because all the kids worth their salt – or perceived to be, at least – have long left the island for one of the boarding schools that sprang up in the wake of the new education reforms. If she can get her class to read a book of their own accord she’s happy to call it a win.

It’s a Thursday: they have Beth’s English class first thing after registration. She’s meant to spend fifteen minutes doing pastoral care, expected to ask them how they are, what’s going on in their lives, their hopes, wants and fears. She skips it. They’re reading Lord of the Flies as a class, taking it in turns to go passage by passage. The boys at the back of the class have the most problems with the language: they stumble and struggle over the words, clumsily piecing them together as if they’re a puzzle in and of themselves, breaking down the components into single syllables. At least they’re trying, Beth thinks. They ask her about conch shells, and one – a girl called Tamzin that Beth always butts heads with, who’s always tapping on her phone, doing something or other – says that her father, who is American, a soldier, calls them cock shells, and the rest of the class laugh. Beth hates moments like this: once they’re lost, they’re lost for the rest of the lesson. She leans back against her desk, her palms sweating onto the old wood, and she tells them to be quiet.

It’s not that funny, she says, but already she can hear it: the quiet ripple of jokes about her and a conch – cock – shell, what she might do with it in her spare time, why she might need it. Because they think that she’s single, even though she wears the ring on her fourth finger, as they’ve never once seen her with him. Five years and no sign of her husband. Come on, Beth says, we’re already behind. She assigns another reader, asking one of the girls at the front, one of the few who are desperate to listen, who sit there scowling every time the rest of the class manages to derail things, and the girl ploughs through the words like they’re going to evaporate. Ordinarily Beth would tell her to slow down, but most of the class just titter every time the word conch appears, so she’s happy to simply get through it.

She spends lunch by herself, in her classroom. Sometimes some of the girls will ask if they can sit in, but most of the time they’re outside, desperately searching for a breeze by getting to high points of the playground or skulking in whatever shade they can happen across. Despite the heat they still drape themselves over each other in primitive pre-sex ways. Beth watches them out of the windows and eats her sandwiches.

When she gets home – school ends early, like she’d heard it used to on the continent, because of the heat there – she opens the windows and sticks the fans on. She has four: two in the living room, one in the kitchenette and one in the bedroom. She’s never really used the spare room so that’s not got one, but she worries about the Machine. She takes the one from the kitchenette, thinking that she’ll angle one of the others later to cover it as well, and puts it on the chest of drawers in the spare room. The chest of drawers, like the rest of the furniture, came from their old house in London. This was the stuff that she brought with her when she moved. The flat was already furnished, and she left it piled up and unused in the spare bedroom for years. For a while, she couldn’t bear to look at it, so it was easier to leave it buried under vacuum-packed clothes and old curtains still with the rings through their hooks. She places it facing the Machine and turns it on, letting it rotate and swing around the room.

I hope that this weather isn’t making you too hot, she says. She walks to the Machine and puts her hand onto it, and it’s cold. So cold, she realizes: colder than it should be. She wonders how it keeps itself cool. No refrigeration component, and it’s been off. The fans can’t have been running. She assumes that this must be an effect of the metal that it’s made from. She moves her hand across the metal, almost sliding it so that her forearm is flat against the cold, and that makes her sigh. This part of the Machine could easily accommodate her entire body – the thing itself is big enough to fit three or four bodies inside, she thinks – and there’s no screen here, nothing but metal from floor to ceiling, and the span of her arms. She grabs the bottom of her shirt and peels it up, rolling it to below her breasts and then pressing her back against the Machine itself. It’s so cold that the relief is incredible. She peels herself off and looks at the print of her sweat on the metal, then presses her front, her arms spread, like an embrace. I should have a shower, she says. She stands back and pulls her shirt off, and then uses the shirt to wipe down the sweat, cleaning the metal. She undresses more as she walks to the bathroom, and then steps into the shower, throws the dial to the coldest it can be and stands there.

6

Beth sees the weather report, and it’s a relief – even in the voice of the weatherman, and the person that they’ve got out on the streets, waiting to report on the rain as soon as it happens – but it just makes Beth hesitant for a second. When it rains, most of the South Coast gets caught up in celebrating. It still rains a little more in Scotland, but the closer you get to London it almost entirely ceases. It’s not a drought any more, though so many people still call it that. The hosepipe ban started and never ended. When it rains, if the kids are in the classrooms, they get more restless than at the end of term. They can’t be kept, and sometimes one or two of them have just stood up in the middle of Beth’s class and walked out, choosing instead to dance around on the torn AstroTurf outside.

When the rain finally starts, as she’s halfway through a lesson about verbs, Beth shuts the curtains. It’s a move designed to curb the distraction, but it can only ever fail.

I know it’s a big deal, she says, raising her voice over the din, but it’ll still be there when you get out at the end of the day. Nowadays they get two or three days of full-on monsoon rain every few months, heavier than she can ever remember it being when she was a child. It doesn’t soak into the ground because the soil is so broken and hard to begin with. Instead, it floods everything, coursing down the streets, turning them into run-off sewers. In the classroom, they can hear it: like a river, doubled by the insistent sound of the rain smacking into the windows that line the one external wall of the classroom. It’s a completely different sound to the sea. Funny, Beth thinks, that water can do so many things.

When the lesson is done, Beth takes herself to the staff room. She sits at a table by herself, gets a coffee from the machine. She stares out of the window: the grass of the playground is nearly entirely gone, worn down by the kids playing football. There’s a cough: she looks up, and a woman is staring at her.

May I? she asks, meaning the vacant seat opposite, and Beth nods. The woman sits. She’s only Beth’s age, maybe even a couple of years younger, and she reads through sheets of photocopied paper, notes about classes in a nearly illegible scrawl. She looks familiar in that way that friendly people do: smiling with her eyes, not stern, mouth in a half-tilt upwards. She keeps looking at Beth, glancing; nervously fingers something on a necklace that hangs just below her shirt. Eventually, she speaks again. My name’s Laura, she says. I’m a sub, only here for a few days. In for… She looks at her sheet. Arnold Westlake. Any tips? The woman smiles. It’s something she’s used to: having to make introductions, having to do this anew every week. It shows, because it’s glossy and confident in a way that makes Beth immediately envious. Apart from, you know: don’t let them eat you alive. Beth laughs gently.

No, they like change. No chance of you being eaten, not yet. They’re good kids, mostly. Some pains.

Any in particular I should watch out for?

Which classes have you got?

Laura looks at her notes. Nine-C first, then 10-B, 12-C. She thrusts the registers over towards Beth, who scans the names.

Two C-tracks? Lucky. She smiles at Laura sympathetically. They’ve all been there. Well, Jared Holmes, Beth says. She points to his name on the register. He’s got a reputation. I’ve never taught him, but I’ve seen Arnie – that’s Arnold – going mad over him. Amy Lancer – Amy Chancer, some of the teachers call her. And these. Both the Decker boys are nightmares. Laura nods with each name, mentally filing them away. Where have you come from?

Horsham. Take the work where you find it and all that.

You’re commuting?

Staying in a guest house over in Ryde. Apparently I could be here until the end of term, which is why I took it. Couldn’t come this far for a day. Do you know what happened to Mr Westlake?

Not a clue. I didn’t even know he was off.

Well, I hope he’s all right. There’s a silence as they both sit; then Laura quickly stands up, grabs her things. I should get my classroom ready. I’m sorry, I didn’t get your name?

Beth. They shake hands.

Beth spends the rest of her lunch walking the Black Pitch. It’s what the school unofficially calls the main playground: a patchwork of tarmacs, laid at different times to cover holes and cracks that could prove near-fatal, then covered with a thick coat of gravel from end to end. The noise of the children’s shoes on the gravel is ever present: a scraping, thin and frantic. The pitch needs to be watched at all times. It’s a rare lunch hour that one of the kids doesn’t fall and hurt themselves. Beth walks around it by herself, because when it rains like this, the pitch is empty: none of the kids want to brave it. They hang around the grassy fields or the slick tarmac at the back of the art block, under whatever cover and overhangs they can find. She can’t hear anything over the sound of the rain on her umbrella. It’s quite peaceful, she thinks, watching the water hit the gravel as it does, almost nudging it around to make immediate puddles. It’s relaxing. As the break comes to a close she stands in the central doorway to the Black Pitch and waves the children in. They’re all drenched, which is a hazard. The school used to trap them inside when it rained, to stop any chance of them getting sick. The kids used to be more trouble than that was worth. Now they get drenched, and they ride through the final two lessons of the day in damp clothes. They’re always too exhausted to cause any trouble at least, those afternoons.

When they’re all inside Beth still stands there, in the door frame. She loves the smell.

Petrichor, says Laura from behind her. That’s what you call the smell of rain on hot ground.

Thanks, Beth says. Good word.

No problem.

Did they go all right? Beth asks, catching her just as she’s off to her next class.

The bell rings over her reply, which she repeats. They went fine, yeah. Better bunch of kids than in many places.

Beth thinks that might be a compliment. Her class, a year-seven one, doesn’t listen to her telling them about some semi-tragic novel where an Inuit child befriends a husky that saves its life and, tragically, inevitably, dies.

7

Beth can’t sleep because of the rain. It’s so heavy that it sounds unholy: the windows shaking, the beating of it against the ground outside. Looking down from her bedroom window to the Grasslands she can see that they’ve become a slop, as the run-off from the hard ground has caused the water to accumulate there. It’s puddled around the base of the building – she can lean down and see it, like a trench, and there are things floating in it but she can’t see what they are from here, bobbing like dark rotting buoys – because the ground is too hard to take it in. It’s easier to watch it than to sleep, so Beth slides open her window and leans out. It’s coming straight down, no wind pushing it in any direction. She can lean on the sill and not get even slightly wet, which she does: sitting on the edge of the bed and watching it fall. The cats are conspicuous by their absence. She wonders where they go when it rains like this. If they’re young enough to not remember when it rained with any real regularity, and if they don’t know what it is, it must terrify them. She remembers being a child and having a small dog, and the first winter it snowed since they got it. Taking the dog out into it and trudging through the foot of whiteness that covered their streets that first morning, and watching the dog licking at it, then jumping through it: trying to make it over the mounds but failing, and ending up leaving pits where its entire body landed over and over again. How it pissed into it, and the cave that the hot urine made, and how that cave made the overlying snow crumble. How she notices that cause and effect, dragging the dog to piles of snow against walls to get it to wee, to make the snow collapse.

When she’s done with the window she leaves it open and walks around the flat. She sits in the living room in front of the television, nervous. She checks her bank accounts, which have been all but cleared out by her purchasing the Machine. She’s got an email from the French seller. He’s ambiguous in the language he uses, but he wants to make sure that it got there in one piece, and that it works. She doesn’t know why he cares: probably because he’d likely get in more trouble for selling it than she would for buying it, and if it was broken she would be liable to kick up a fuss. She replies: Everything seems to be fine, and the equipment seems to function. I’m very grateful for all your help. She presses send, and she’s barely had time to think before a reply comes.

No problem, it says. It offers her help if she needs it, tells her to email that address. She doesn’t reply to this one. She assumes that that’s it, the last contact that she’ll have with him. She Googles Vic’s name, just to see if there’s anything new, but there’s nothing immediate. There’s a lot of articles that mention him as part of some group litigation, and a few people who have studied him, covered him as part of a thesis. Occasionally an article will mention Beth as well: it will say that he was only recently married when he went to war, and that the treatment robbed a wife of her husband, left her practically bereaved only a couple of years past their beautiful union. Purple prose to describe something that was far more simple and crude than it appeared. When it had actually been a lump of shrapnel from an improvised, home-made bomb that robbed her. When she heard that he had been injured – a telephone call from a man whose name she didn’t even remember, frantic and desperate where she had assumed that army calls came through measured and calm – she prayed for him to survive. She said, through her atheism, that she wanted nothing more than for him to survive.

Whatever happens, that’s all that I want, she said, out loud, to the darkness of her bedroom as she tried to sleep that night. Now, she remembers that night, because – quite deliberately – she never prays. This has been done by her, not some cruel deity. It was an unfair trade-off, to give him his life and then curse him with the dreams that it did, only to rob his life from him again, in all essence. Beth shuts the laptop and walks to the fridge. She takes milk out and drinks from the bottle, standing with the door open, letting the chill run over her body. She can’t stop thinking about Vic, so she goes to the spare bedroom. This, in here now, contains a part of him.

You’re still here then, she says. She turns the Machine on and presses her hand, all of it, palm fully spread, onto the screen. The whirr, the hum. The familiar warmth of the screen as she leaves her hand there, and the print that’s left when she peels it away. The start-up tones ring out and she sees the menu there. She chooses to play back a recording. There’s a list of them all, each with a date stamp and time count next to it. At the bottom of the list is a total of everything. Just shy of 270 hours of recordings. It’s implausible, she thinks, until she remembers that they took it out of him in hour-long chunks, broken down into only a few sessions a week. She can’t remember how long it took, not really. How long they lived with Vic having his episodes, and with Beth pretending that it was all right.

She picks one, at random. Vic’s voice is first.

I know how this goes, he says. He sounds sick, Beth thinks: like there’s a scratch in his throat. He says, What do you want me to talk about, Robert?

I’d like you to tell me your name, like always, the doctor says.

Victor McAdams.

Tell me some other things about yourself, Victor, the doctor says. There’s a pause, then he speaks again. Where do you live, for example?

London.

Oh, whereabouts?

Ealing.

Okay. Are you married?

Yeah, Beth. Elizabeth, Beth, he says. Beth presses pause on the screen. Him saying her name, so loud and so clear through the room. She presses the timeline to hear it again. Yeah, Beth. Elizabeth, Beth. Elizabeth, Beth.

Any kids?

No.

Why are you here? Do you know?

Because I have dreams, and because… of what I did to Beth.

Good. Do you mind if I start the process?

No, Vic says. On the recording, behind their voices, comes the sudden rumble of the Machine, like a turbine. Beth thinks of sitting on planes and hearing the engines kick in. That lurch of noise. I’m ready, Vic says.

What do you dream about? the doctor asks.

Vic sighs. Mostly about blackness, he says. Darkness. It’s like nothing, with noise over the top. It’s hard to explain.

What are the noises?

Bangs. Sounds like gunfire, he says. There’s a rustling on the recording which takes Beth a few minutes to place, and then she gets it: it’s his hair. They decided that he should grow it out, to establish less of a connection with his army persona. And to cover the scar from the bullet. It itched, the scar, and he always ran his hands through the freshly grown hair when he was stressed.

And can you tell why you’re hearing them? Why you’re hearing gunfire?

No, Vic says. He sounds trepidatious. I don’t know.

Beth stops the recording. She wonders if the Machine is like the ones that they used in the labs. Vic was so early on in the run of treatments that he must have had experience with the older Machines. She presses the screen, going to the place she found the firmware number. She writes it down again, on the palm of her hand, along with the Machine’s serial number. At her laptop she types them in, but there’s nothing. She doesn’t know what she expected. Maybe that it would have a list of recalled Machines, and where they originated. Then she remembers the documentary.

8

It’s been at least a couple of years since she last watched it, because it was so painful for her to see Vic the way he appears in it. She finds the disc in the drawer, along with everything else she put aside about the Machine, just in case. It’s a shop-bought copy, her second. The first she lost after a fight with Vic, during the later days of his treatments, when she pulled it out to show him, to say, This is you.

Fuck you, Vic. This is you.

She puts it into the computer and lets it start up. She still remembers the exact minute and second when he appears, because there was a period that she watched this repeatedly, like a child fixated, so she skips to the first one. It’s an introduction of him, only ambiguous, no details offered. They’ve blurred his face and down-tuned his voice, like he’s a criminal or a snitch; only it was so that he himself would never see it by accident, post-treatment, and start to ask questions. They show a blurred-faced Beth walking him into the hospital, where a psychiatrist spoke to them. They made an assessment and offered Vic the Machine.

Beth doesn’t care what they’re saying in the documentary, because she knows, and she knows that most of it was lies, or ended up being lies. Instead she wants to see him for the first time, wearing the Crown, hooked up. A mock of his first session, staged for the cameras, but she still wasn’t allowed to be there.

They told her, It can make things confusing for the patient. So she never went, not until the later stages, during what they termed cleaning up. There was no danger, then, of her messing anything up for him, apparently. So in the mock he’s there, in a chair, his face a mess of pixels, with a doctor asking him questions. She knows that the Machine isn’t on before they even show it, because there’s no noise in the room apart from the murmur it makes when it’s merely plugged in. The doctor is asking Vic about the war, and he’s answering, and the doctor is fake-pressing buttons. They show the Machine. They have trouble getting it all into shot, but once they’ve adjusted their field of view and pulled back, there it is. It’s the same model, exactly the same as the one in the spare bedroom. Beth’s sure of it.

She picks up the laptop and walks it into the spare room. She places it on the bed and changes the angle of the screen. So that she can see both it and the Machine. It’s exactly the same model. The same size (she guesses, from the height of it in both rooms); the same width (again); the metal the same pitch black; the screen with the same slightly glossier shine. She knows that it’s not the same Machine, not exactly. There were hundreds of them built. But there’s something heartening about the fact that it’s the model that started this all. The one that took everything away from Vic will play a part in giving him back. It’s almost poetic.

She takes the Crown down from the dock and examines it. The pads. She wonders if they got cleaned between patients – she remembers the sweat on Vic’s head around where the welts would be, before they turned black over a period of months, permanent bruises that would be hidden by his ever-growing hair – and decides that she needs to take care of that now. From the bathroom she gets disinfectant wipes, and from the kitchen a duster and the handheld vacuum cleaner. She starts with the Crown, wiping the pads down, and the frame that holds them together, and then she lifts it to her face to examine it closely. She brushes apart her hair, taking it back from her face; and then slides the Crown onto her skull. The pads slide into place, like they’re meant to be. The perfect size for her. They sit on her temples, where she’s got thin hair, like wisps. Vic used to call it her fur. He would sing this song to her – For my flesh has turned to fur, the lyrics went – and she would hit him on the shoulder, telling him to stop it. She looks at the screen. The REPLENISH button is there, on the front page. This is what they took away from future iterations, when they locked it down. Before they withdrew the Machines altogether. She could press it… She wonders what it would be like, with Vic’s memories in her head. If that is something that she could carry around.

She puts the Crown back in the dock and rubs her scalp. It’s tighter than she imagined. She cleans the rest of the Machine’s bulk, using the duster to wipe down the metal, then taking the disinfectant wipes and running them all over the screen, into the corners. There’s black gunk where the metal meets the glass, which she tries to get with her nails but it won’t budge, so she brings a knife in from the kitchen and scrapes away at it, getting it into the vein between the surfaces and reaming the gunk out. Then she wipes it all down again, noticing as she rubs the screen that she’s inadvertently cycling through menus. She’s managed to end up on a page that’s inviting her to wipe the Machine’s internal memory. She presses the CANCEL button, suddenly relieved. She had been so close to losing it all. Everything she’s worked for, for so long. She turns the screen off, to stop it happening. Puts the thing on standby.

She drags a chair in from the kitchen and places it next to the Machine, and stands on top of it. There’s a gap just about big enough for her arm to fit between the Machine and the ceiling, so she runs the handheld vacuum into the gap, watching the dirt and grime that sat on top of it zoom into the transparent container.

She looks at the picture again, the frozen still on her laptop screen. She compares. They really do look incredibly similar. She wonders if it might not be the same Machine.

She unplugs it at the wall. It’s nearly light outside. She dresses for work and sits on the edge of the bed in her bedroom. Now, I could sleep, she thinks. Now, when I have to go to work.

9

At the weekend, one week closer to the end of term, she visits Vic. She packs a bag before she leaves the house, taking biscuits with her, and some of his clothes, pulled out of the vacuum-packed plastic bags where they’ve been lingering. The walk to the ferry terminal takes her along the coastline, because she goes out of her way to stick to it. It’s infuriatingly hot, even this early in the morning. She peels off her sweater and stuffs it into her bag. From the sea, there’s a wind, but it barely registers against the heat. She remembers when this was a rarity: when weather like this would have brought the tourists flooding here, and the beaches below where she was walking now would have been crammed. The promenade leading to the terminal is almost deserted. People walking their dogs on the beaches, letting them leap into the waves; some elderly couples sitting in chairs outside the coffee shop. Everybody else is still in bed.

The ferry ride itself is amazing. She calls it a ferry: it’s a catamaran, and she stands on the deck and, for a few minutes, it’s almost cold. The wind up there, caused by the speed, is biting. She doesn’t put her sweater back on, because she wants to feel it. She knows how fleeting it will be. Even as the boat starts to slow she goes inside and rubs a thin layer of suntan lotion onto the back of her neck. They say, on the news, that everybody will get used to the sun eventually. Children born now won’t burn nearly as easily. We’ll be like they used to be in the south of Europe: naturally tanned. Beth isn’t there yet. She rubs the lotion on and then pockets the bottle, in case she needs it later. The ferry docks into what’s left of Portsmouth harbour, and they all leave.

She remembers how Portsmouth used to be, back when the Navy was still here, before the collapse of the cliffs and before the flooding of Old Portsmouth. They dredged it, of course, once the waters rolled back a bit, but the damage was done. It’s something that people rarely appreciate until it happens: the sense of safety, of not needing to blockade. She thinks about how easily people now put up walls here, after they’ve been through it. The shops she passes have small steps to enter them and trenches dug along the roadside gutters. Everything seems to have been elevated a few feet. This part of the city, when it was constructed, floated on the water, and there are still the remnants of the parts that were lost when the flood came: the offices that were wrenched away from their moorings, somehow, and collapsed into the sea, toppling onto boats, the masts tearing through the windows and spilling out the guts of the desks and computers and people inside. Even now, that part of the city is bypassed and cordoned off, despite it being years since it happened. Still, in the water, you can see the computers and ruined chairs from the offices under the water, sitting far below the docks.

From here Beth enters the station, where her train is waiting, and she finds a seat and stares out of the window. She’s become accustomed to not doing anything on these journeys, because she finds herself too distracted. On the occasions she tried to read a book, she had forgotten about whole characters by the time she boarded her return train. It wasn’t worth it in the end.

After the train she fights through Victoria station, and to the underground. The tube is filled with stale air, recycled a seemingly infinite amount of times, pumped out in what is claimed to be cold air, but only tastes cold, somehow, and is still warm at its core. She can tell as she walks through the stations: how out of breath she gets just fighting her way to the escalators. Everybody around Beth sweats. By the time she reaches Richmond it’s a relief, even just to step out onto the high street. It’s busy already, but she turns away from the shops and towards where it looks more residential. Three turnings away and over the bridge and past the little shops and she’s there.

The sign in the front garden proclaims it to be a CENTRE, though Beth knows different. It’s a hospice, really. She would argue that the patients are all terminal, because they’re like this until they die. Any chance of them being treated by this new technique is slim to none; if they’re the right patient, and if the company decides that the technology is up to it, then maybe. Probably not, though. Saturdays are visiting days, and she has to sign in. She has to show ID and be scanned, so she places her bag on the table and stands where she’s meant to and lets them check she’s not dangerous. She has no idea why anybody would want to bring a weapon into this place. The school, that’s a risk. Once a year the news rings out with another story about somebody murdering their classmates. Nobody ever murders the handicapped and dying.

In the hospice itself, Beth knows the way to Vic’s room. There are coloured lines on the floor to lead visitors. Green to the gardens; black to the storeroom in the eaves, where they keep old Machines, in case they should ever need them; sandy yellow to the private rooms. Beth follows this last line up the stairs and to the left. She pays for a room of his own, where so many of them are in larger wards, four or six to a room, divided only by thin cotton curtains. There’s an argument among the families of those in here that private rooms are unfair, because not everybody can afford the subsidies. They’re all in the same boat, goes the argument; and besides, they don’t know any different. She pays the subsidy, despite the rising prices, because it gives them privacy.

When he’s back to being himself, Beth thinks, he’ll appreciate that I did it. What it gave him. That space to be alone, and to be himself.

Vic’s room is the same colour as the rest of the hospice. A thin grey paint, a white dado rail, a white skirting. The furniture is hospital standard, with a white wire-frame bed locked to the wall and a table that’s high enough to be wheeled over the bed – and over Vic – and a chair in the corner of the room, a soft thing that’s low to the ground, impractical to sit in. There’s a television (an old-style set, with the bulbous behind and curved screen) on a stand on the wall opposite the bed as well. It made Beth laugh, the first time she saw it. When they brought her into the room, to tell her that this would be where he was staying, and they pointed it out. She asked them if it would be part of his rehabilitation, watching EastEnders. They ignored her. She found out later that the building used to be an old people’s home, and they simply moved them out and moved the new patients in. In the corner are Vic’s personal accoutrements: his monitor, his spare colostomy bag, a collection of kidney-shaped metal trays stacked up like saucepans. There’s a bowl of fruit, but it’s token, and often the fruit is gone, well past its date. On the wall above the bed, looking directly down at Vic is a security camera, a tiny ball that affords somebody a 360-degree view of the room. A direct line to see and hear whatever Vic is doing at any given point in the day.

Here, Vic is on the bed, shitting himself.

Here, Vic is writhing, managing to push himself onto the floor, his tongue lolling from his mouth.

Here, Vic is in the corner, because he walked of his own accord, which should be a near-miracle, and celebrated, but now he’s just standing there and gasping as he faces the walls, heaving his body up and down, his shoulders halfway to a convulsion. Over and over and over again.

Beth always worries what state she’ll find him in. She’s sometimes been here when there’s been an accident, and she’s seen it before the carers have had a chance to deal with it, but that’s a hazard of their jobs, she thinks. The carers and hers. Even with those paying guests, the clinic is understaffed and underserviced. She could complain, but they’ve got heading on for a hundred other patients here, and they’re all in similar boats. Some are better, admittedly: many of them have kept their day-to-day routine, and they can take themselves to the toilet and feed themselves. Some of them might as well be in a coma for all they’re worth. Lying there, calm as anything, barely cognitive when visitors come. Vic is special to the clinic. He’s a worst case: not just far less able than the man he once was, but totally out of control of the man he’s become. Beth’s never seen anybody worse, not in the flesh.

(On the internet she’s seen videos of patients who reacted to the initial Machine treatments in other ways entirely. She tells herself that it could have been worse: those patients who, in the early stages of treatment, killed themselves and their families: holding them at gunpoint until they ended it, casually, one by one; or slashing their throats while they slept, disbelieving of the stories told to them to fill in their gaps. Or, when they’re vacant – such a cruel word, so suggestive that somebody else will be along in a minute to take their place – they’ve managed to somehow end it all afterwards. Reduced to something so primal and vague that they’re barely even quantifiable as human any more, let alone the men and women that they once were. And they end it, by either just giving up and stopping being any more; or, in worse cases, finding ways to put themselves out of what must be an indefinable misery.)

Today Vic has his back to Beth. She can see the line of his spine, the weight of his skin on it. How it looks almost curved where it follows the too thin mattress, the weak bed frame. His back has spots on it that it never used to have. They never get past red smears, but still. She knows that he’s not being bathed enough. The only times she’s complained they’ve told her to be here more, to do it herself. They are understaffed. They aren’t, they tell her, paid enough.

They say, Why don’t you move closer? They just say it to her, as if they’ve known her all her life, and who are they to pass judgement?

Because of my job, Beth replies, weakly. She doesn’t tell them that it’s shame-based: that she doesn’t want her colleagues’ pity. She tells everybody that Vic’s away at war, and she has a photo of him in her classroom. To her classes and workmates, Beth wants Vic to be a hero. Still away and fighting the good fight, even after all this time, even after any war he could be fighting has long ended.

He doesn’t stir as she approaches. She has to say his name four times before he even flinches, and then it’s not recognition. It’s awareness. When this happened they didn’t know why, any more than they had when Beth had rushed him to the hospital, telling them that something had gone terribly wrong, Vic’s body on the back seat in constant convulsion. He was one of the first to fall apart, because he’d been one of the first to start the treatments, and erase what needed to be erased. He was to be a test case, proudly paraded in front of crowds. But when they let her see him finally without any sedation he was a void. Nothing inside him.

They said, We don’t know why this has happened. This is an anomaly, it can’t be right. They apologized to her straight away, so she knew. You don’t apologize if you haven’t done anything wrong, and they said sorry so many times.

Vic? Beth says again. He moans: low and timorous, from somewhere other than his throat. From below. It’s me, she says.

She puts her hand onto his back and rubs it. Sometimes she’s done this and he’s reacted to her touch as if she was fire. Throwing her off, writhing around, lashing out with his arms and legs. Today he’s more placid. Her hand placed against his shoulder blades, she listens to and feels him breathe.

Some of the other users of the Machine, the doctors said to her when they delivered their final diagnosis, forget the basics, even. They forget the stuff that’s innately written into us, deep within us. Breathing, eating. They forget how their bodies work. They told this to Beth as if this should have made her feel better: your husband isn’t on a respirator, and we don’t have to tell his heart how to work for him. You don’t have to make that hardest of decisions yet. He’s still alive. And Beth, through her guilt, was even grateful.

Will he ever get better? she asked them. They didn’t know. What they did know was that he was ruined.

Sit up, she says to Vic. She moves around to his front, where she can see his face. It’s hardly changed over the past few years. He’s still handsome, she thinks. He’s still an army man, even where he’s lost the definition in his muscles. Jowls more than muscle, there, around his face. His hair has grown out, but she can still see the bruises, burned into his skin. They remind her of being a schoolgirl: of Ash Wednesday. All the children lining up to have a cross drawn on their foreheads, big fingers leaving smears that they were all too scared to immediately rub off, even with the slight smell and the stigma of having to wear it. That’s what the pad-marks look like to her: ash.

Vic moans again, so she moves her arm underneath him and tries to heave him into a sitting position. Come on, she says.

He says something that sounds like No, but she knows it’s not that. He hasn’t said a word in years. It’s like when parents think that their child says its first word, something random, off the curve. Really, it’s just a collection of noises that approximates speech. It’s fantasy and hope. She links her arms together, under his armpits and around his back, and she strains to drag him up the bed. He doesn’t help her at all. He doesn’t fight against it, but there’s no compliance.

Come on, she says. When he’s nearly sitting – a slight angle to his whole body, like he’s on a boat, slanted against the waves – she stands back. Better, she says. She wipes his mouth and then the rest of his face, and she brushes his hair with her hands because his comb seems to be missing. It’s usually kept on the shelf at the side of the bed but there’s nothing on it today, which makes her think that the cleaners have had off with it. It wasn’t a cheap one: part of a set that she gave him for Christmas once. That set went through the war with him, and it was part of the stuff that they shipped back with him after his emergency surgery, that she had to sort through, that she had to choose to keep. The scar – the real scar, not the Machine’s burn scars – sits to the left of his forehead. When she stares at it she traces a line to the bullet’s exit point, and she wonders how close it really came to ending everything. A fraction of a millimetre, the doctors at the time said. Beth has always wondered if that was an exaggeration.

I don’t suppose you’ve managed to remember who I am, Beth says. She stands back and looks at his face, and tries to make eye contact. You’re Vic, she says. Do you remember that? She’s not expecting anything. This isn’t the point where she gives up: that happened a long time ago.

(She remembers the exact day, because it still sits there as a dream that she has when she’s drunk or lonely: Vic bucking as she held on to him, as she tried to console him, and she realized that he didn’t know who she was, and he didn’t care. She was the only one who cared, and she had the guilt on top of that, and she carried that with her every single day, every single time that she thought about him.)

She changes him. She can’t remember what it’s like to undress him normally, not like they used to. This is different, a shift in their relationship. The act of pulling down his underwear and replacing it. Wiping him if he’s had an accident. The nurses here change him every few hours to prevent them, now. Rubber-lined underwear; rubber sheets on the bed. She pulls the underwear down his legs and past his ankles, and then she takes a bath-wipe and rubs it over him. She doesn’t know how often the nurses actually do it.

I hope you’re all right in here, she says to him. She sits on the edge of the bed after putting his new pants on, and she turns on the television. It doesn’t hold his attention – she isn’t sure that he’s even capable of paying attention any more – but she watches a daytime cookery show for a few minutes. Sitting next to him is reassuring. She thinks that it won’t be that long until she’ll have him back with her, back as he was. Sitting with him now makes that prospect feel somehow more real. She can feel his warmth, which hasn’t changed at all. His blood still pumps the same way. His skin still smells the same, after she’s cleaned him.

He can walk still, sometimes: when she catches him on the right day, when the muscle memory does more than his active brain. Today isn’t one of those days. She asks an orderly who passes the room to help her put Vic into a wheelchair. It goes quite smoothly until he’s actually in it. He makes himself stiff as a board, back arched, and the orderly straps him in. They forcibly bend him, making him sit.

Safer for you both, the orderly says. He calls Vic Mr McAdams, which makes Beth feel sad. She wheels him down the ramps, pulling him behind her as she walks backwards, because he’s so much heavier than she is. At the end of the corridor is a wall of glass that’s so reflective and so dark inside as to be almost a mirror. She sees herself with him, her hands on the handles of the chair. She looks older, and his hair has become mussed in the move to the chair. She straightens it again with her hands. He doesn’t look at the reflection. She remembers something that she read this one time: how the only animals to recognize themselves are chimpanzees and elephants. You can put a mark on their heads and they will see the reflection and reach for themselves, to rub the mark off. Every other animal tries to find the thing by looking behind the mirror, unable to understand what it’s seeing. Vic doesn’t even look at the reflection. He sees nothing there; if he thinks it’s another person, he doesn’t care.

This is how it is, Beth says. She wheels him down the entrance ramps and into the garden, and then across the tarmac path. It’s even hotter than she anticipated, and within seconds she can see the beads of sweat on Vic’s forehead. She mops them with her sleeve. Jesus, she says.

Around her, other families are attempting to relax. All of this is too demanding. Being with people who are so far gone that they aren’t the people that they once were. And some argue that it’s like coma patients, and how you would stand by them, but Beth has heard the other side of the argument. That they’re more like the dead. There’s nothing inside them. They might look the same, and they might smell the same, but they’re different. The person that they were is gone. Inside them, the part that made them who they were, that’s gone. So what’s left? Beth’s heard the argument that there’s nothing. She’s seen the divorce figures for the vacant. Two years ago, a judge in America had annulled a marriage, but that was still an exception.

This is mortality, he said. Life and death. We’d never force somebody to stay married to a corpse. When a person loses this much of themselves, they have lost their soul. And what is left when you have no soul?

Most of the people here with her are parents, looking at their children, all grown-ups. Grey-haired men and women trying to act as if this is normal, because there’s a bond there that’s indelible. There’s no annulment between parents and their children. At their worst the patients are back to the way they were before they walked and talked, when they lay and were inattentive and cried for no reason. She sees the parents trying the same tactics they might have tried then. The snapping of fingers to try and draw their eyes. Calling their name, over and over, in the hope that it will stick. Nobody knows why the brain doesn’t work like it should after the Machine’s had its way with it. This would be much easier for all involved if it was just a wipe. One doctor who worked on the project wondered if the brain hadn’t had its ability to record memories wiped. As in, it had forgotten how to remember. Beth doesn’t like to think about it. So she and the parents lie on the lawns with their charges and they treat them like pre-toddlers. She knows that they wonder why she’s still with him, because they can’t see what she can be getting out of this. Nobody dreams of a vacant shell for a husband.

She wheels the chair out towards the gates, and the road. She wants to see how far she can push it without being noticed, if anybody’s going to question anything. There are no security cameras in the grounds because there’s no danger of the patients escaping, not when most of them can’t even walk. And those who can, can’t work door handles, or dress themselves, and certainly couldn’t get past the manned security desk. She pushes the chair further down the path, to the gates themselves, and then onto the street. She turns the corner and she stands with him and waits. She can see the people across the road staring at her. Or staring at Vic. It’s quite shocking, the first time you see him, because it’s not like seeing a disabled man. There’s no life in him. When you look at the vacant, there’s something wrong, and you can tell. It’s immediate. It’s what the overly religious factions who oppose the Machine use as evidence: they present the intangibility of the soul as proof of the existence of something less tangible still. The people across the road all turn their heads and stop talking. Beth ignores them. She puts her head down and looks at Vic, and she gently rubs the sides of his head. Apparently they itch, the burn marks; and she used to do this before, to the bullet scar.

After a minute nobody’s followed her, and there’s no sign of a security guard when she pushes Vic back into the grounds. None of the other visitors notice, even. Too preoccupied with snapping their fingers and whistling as if their offspring are dogs. Beth pushes Vic back the way that they came. She wipes his brow again. Through security with no hassle, and then to his room. She thinks about doing this herself, which is something that she’ll have to learn. She sidles the chair right next to the bed and locks the wheels in place, and then stands behind him.

I need to get my arms under here, she says. She pulls his arms up and puts hers underneath them. He’s so heavy. She struggles, pushing him forward, and he turns himself out of the chair and onto the bed. She puts a hand on his back to support him. Pushes him with it, and then she uses her other hand to try and get his legs up. His body turns too much, so she pulls him up the bed. He still gives her nothing.

She tries to manoeuvre him onto his back. She does this by pushing one shoulder and pulling the other, trying to make him do it himself. Now one hand on his shoulder, pulling, and the other on his knee, then his thigh. Incremental stages to get him flipped over. Next, her hand on his shoulder and her other hand looped around his thigh. She heaves and pulls, but doesn’t know if she can do it. Heave and pull, and finally his legs start to move, and, almost independently, his torso. He’s not flat on his back now, but as near as, and he starts to make a noise from deep inside him. She tries to yank him up the bed again, because he’s a foot clear of his pillows, and his legs dangle off the end of the metal frame. Small movements, but movement all the same: an inch at a time. Maybe less. Over and over, tiny repeated movements.

She remembers meeting him for the first time. They’re at school, their last year. Everybody says it’s perfect. That they’re perfect.

Pull and release, over and over, until the pillow is underneath his head, the first pillow at least. The pillows are so thin and unsupportive. No pillowcase. Instead gauze, designed to be easily washed, so that the whole pillow can be put straight in the washer. She tries to squeeze it into a shape that’s more comfortable.

Lift your head, she says, knowing that it won’t do anything. She bunches the pillows up but she can’t make him look comfortable. This would be easier with normal pillows, she says. She tries to shift him up the bed more, but he won’t budge. This is as much as she can do. She stands back to look at him, and he rolls his eyes and opens and closes his jaw, and his hands twitch and his legs are totally, unbearably still.

I’m sorry, she says. She’s not apologizing for her inability to make him comfortable, she knows, but if anybody heard her, that’s what it would sound like. All the way home on the train Beth tells herself that this will be easy. That this is the right thing to do.

When she gets home she sits in the spare bedroom and puts the Machine on and listens to audio of Vic talking about her: not the good stuff, the stuff that he wanted to keep, but the bad. The bits that they wanted jettisoned.

10

On Monday, after school, Laura is waiting for Beth by the gates. She’s smiling.

I was hoping to catch you, she says. Good day?

It was a day, Beth says. Wouldn’t go as far as the good part.

Fancy telling me about it over a glass of wine?

Beth stalls. I was going to do marking, she says. Her bag feels pitifully light for that excuse. I’ve got a bit to catch up on.

You could do it after the wine and get it done twice as fast, Laura says. The looseness you get from wine really helps with your marking, I’ve heard. She persists. Go on. I don’t know anybody else, and this is getting pretty tiresome, being here like this. It’s you and wine, or by myself in the guest house all afternoon, sweating under my dodgy air-conditioner. Her last try. The first round’s on me, she says.

Okay, Beth says. Sure, why not?

They walk down the road away from the school, past the kids. They know what they’re like: smoking, playing up. Across the way, a group of them pull their hoods over their faces and start walking with an affected limp. Beth can hear music from one of their cars. It sounds like drumming. Nothing but the headache of a beat.

They have cars, even here? Why would a teenage boy need a car on the island? asks Laura.

How else are you going to crash one and write it off? Beth replies. That makes Laura laugh. They don’t really talk, because it’s so hot, and then they reach a pub that Beth recognizes but has never been into.

This one? Laura asks. The temperature inside is much lower. They open the door and there’s almost a thin mist from within, as if they’ve opened a freezer, and Beth feels goose-bumps thrum up her arms. They pick a table away from the bar, where it’s quiet, and Laura leaves her bag there with Beth while she goes and orders. Beth watches her talking to the barman, who seems like he’s been asleep – he rubs his face and yawns as she orders, and he fumbles a wine glass as he places it on the bar, nearly smashing it, but Laura catches it before it rolls off the lip – and thinks about how long it’s been since she had a drink out like this. She drank at the Christmas party once, a few years ago, but she never goes out. Not to pubs. Not with her workmates.

Laura comes back with the wine. Went with this, she says, waving the bottle around. It sloshes, nearly up the neck and out. Got the bottle, because it worked out cheaper, if we drink it. She sits down. We’ll drink it, right? She pours them both a glass, filling each well over the recommended-measurement line, and then drinks from hers. Sorry, she says, should’ve made a toast.

You don’t need to, Beth says.

No, I do. Thanks for this. I was getting lonely. Here’s to not being lonely, Laura says. They both raise their glasses and chink them across the table.

How are you getting on? Beth asks.

Fine, Laura says. She tells Beth a story about one of the boys taking his penis out in class, under his desk. She says, You warned me about him as well, and there was I thinking you were insane. Butter wouldn’t melt, I thought, and suddenly… Well, there it is.

Jesus! Beth says.

The rest of the class died laughing. Even the girls.

They try. They’re good kids.

He had his penis out. Doesn’t matter how good a class is, they’re always going to push that one. But I’m enjoying it, the teaching. She smiles. Not the penis. They both laugh. They need something, Laura says. Seems like a lot of them here don’t have faith. Not big on churches or family here, are they? Beth doesn’t answer. She’s not big on either herself, but that isn’t something she can say. It’s not something she can hold against Laura either. The silence pushes Laura to change the subject. So what about you? she asks. She looks at Beth’s hand and points. You’re married?

Beth has to stop herself telling the truth. It’s there, in her mouth. She’s suddenly aware of how much she wants to talk about it. Yes, she says. He’s in the army, so I’m sort of alone a lot.

No sort of about it, Laura says. My dad was in the army. I get that, what it’s like. Selfish, I used to think. Sorry, I mean. You know.

Beth nods. I know, she says. It can be, a bit. She thinks about how many people she’s told the truth to since it happened. Her doctor, the psychiatrist she took herself to when she was having trouble sleeping, after Vic went into the home; a man on the telephone, when she called the helpline for Victims of Vacancy; a man who nagged her insistently once, in the early days, in a bar, practically rubbing himself against her body, taking her to the point of tears and then, from him, remorse. Three people, that’s what a tight secret it is. And here, now, she’s thinking of telling all to a woman who’s nearly a complete stranger.

Kids? Sorry, I shouldn’t pry.

No, Beth replies. No kids. Just me.

Right, so that’s definitely alone then. There’s a hint of something in Laura’s accent, something Irish maybe. Something lilting. Makes everything she says sound somehow vague. How often is he back? she asks.

Not often.

Where have they got him?

Iran, Beth says. He’s out there as one of the last peacekeepers. It’s safest: everybody knows about the chaos that was there, and how many people have died in the last decade. They don’t push when they hear Iran, because it could mean anything. It’s a delicate subject matter to talk about.

How long have you been married?

Eight years, Beth says. She’s met people like Laura before. Lots of questions because they like being interested. Not nosy, just stockpiles of information, immediately involved in the lives of their acquaintances. What about you? Beth asks. Married?

Me, no. Laura says it with the smirk of somebody who’s had this conversation a lot. No no no. I have a boyfriend; Rob. He’s noncommittal and infuriating. No matter how many hints I give him he never picks up on them, or he ignores them and plays dumb. He’s like a trained dog who chooses when he’ll obey. She leans in conspiratorially. Full of promises when there’s a treat in the hand, Laura says. We’ve been together too long now, as well. I think he’s complacent.

You live together?

No. No, I won’t. She pulls a necklace out from the neckline of her shirt. A cross, with a miniature Christ figure draped over it. I’ve told him that we should wait, she says.

Right. And he’s…

He’s stubborn. Laura finishes her glass of wine. She necks the final inch back in one. So is this all there is to do for fun on this bloody island? she asks.

11

Laura says goodbye to Beth. There’s no thought of this continuing onwards – Beth remembers when that wouldn’t have even been a question, that a pub shutting didn’t mean you had to go to bed and tuck yourself in and end the night – but Laura’s adamant. She’s drunk and swaying, and Beth asks if she can find her way; if she’ll be all right. She’s insistent that she doesn’t need Beth’s help.

I can get home, Laura says, I honestly can. She reaches over and grabs Beth’s shoulders. Beth, she says. Beth. It’s been such fun. We have to do this again.

Laura stumbles off and leaves Beth in the street. She starts home. The walk back takes her ages, as she keeps stopping, leaning against walls. She catches sight of herself in the huge mirrored windows of the porn shop tucked between the kebab house (heaving) and the tiny grocers (which is perpetually empty, and seems to survive only on the occasional sale of a bunch of flowers) and she realizes that she doesn’t look anything like the woman she’s been for the last five years. She’s relaxed, and it’s all over her face. Her posture, even; the comfortable slump of her shoulders. It’s enough to make her cry, and she does, facing the water on the far side, away from the street. She’s never been in one of those shops, but she wonders if they can see out of that mirror: if they’re all watching the strange woman sobbing on the other side of the window.

For the rest of her walk home – which she extends by taking side-streets, by passing back along the front, by stopping and watching the people drinking in the streets, grabbing each other’s arses, chewing each other’s mouths off – she wants to be discovered. She wants everything out in the open. She doesn’t think about Vic for at least half an hour, and when she realizes that, she feels incredible. Magical, even. He’s everything, but that pause… to take it was so freeing. She passes students and parents and colleagues, but they don’t notice her, or they aren’t looking, or they don’t say anything. She doesn’t know which. She’s drunker than she’s been in years, and she can feel it through every inch of her.

Beth opens the front door on her third try. She drops the keys on the mat and bends to pick them up, but her ankle shakes as she does it, so she props herself against the frame with her hands.

Shit, she says. She swats the keys into the flat, and they skirt along the floor, making a noise, scratching the fake wood floorboards as they go, ending by the wall of the living room. She kicks her shoes off after them. Then pulls the door shut as she staggers forward.

I’m home, finally I’m home, she yells, and she puts her bag down, takes her coat off and she marches down the hall, pressing one hand against the wall the entire way. Home is the hunter, she says, which is something that Vic used to say, as a joke.

She opens the door to the bedroom and there it is: the Machine. She kicks the power on and the vibrations start, more acutely than before: she can hear it, feel it coming through the floorboards, the carpets, the walls. She can feel its vibrations through the wallpaper. She says his name, once, quietly, to remind herself of him – of what this is all about – and then walks to the Machine and puts her hands on it, palms out, on either side of the front panel. Its vibration runs all the way through the metal of every panel and part as it readies itself. She paws the screen, which is black, blacker still than the metal body of the thing, and her touch brings it to life.

You’re in there, she says.

Through the scrolling list of dates one leaps out, one that took place on the day after his birthday that first year of his treatment. She wonders. She presses play, and the doctor speaks, a prelude to Vic.

What did you do yesterday?

Beth took me out for a meal. We, uh. She booked a Greek restaurant. We both really like Greek food.

You seem distracted.

No. No. Just, it’s just coming hard today. Difficult for me. Don’t know why.

She pictures him there, struggling to keep it together, and she takes the Crown down from the docking station and nearly puts it on but doesn’t. Instead she rests it on the bed next to her, and she moves her right hand from the screen and down between her legs, pulling up her skirt, and then into her underwear, sliding down. She rubs herself as she sits on the edge of the bed, and then moves her body along the lip of the mattress. She remembers how she used to do this before she knew him, when she was still a girl.

She moves herself to the bed proper, face down, hand back inside her, rubbing, her back arched like a cat caught in a stretch. She gasps, one hand propped against the Machine, the vibrations through every part of her body, through her skeleton, through the other hand as it pushes her forwards.

It’s over as fast as it starts. She sits up and listens.

Do you mind if we begin the process? the doctor asks.

No, sure. Start.

Talk to me about Beth. How did she feel when you were away?

I don’t know, Vic says. Beth’s heard all of these recordings before, back when she was administering the treatments for Vic at home. When – she joked with herself – she went rogue.

Don’t you talk about it?

We did, but I can’t. I mean, she was sad. She cried a lot, near the end.

Do you remember why you came home?

I was, uh. Vic sounds upset, and he breathes through his teeth. Was I sick?

You were sick, yes. The doctor stands up – the noise of the chair legs scraping against the linoleum floor of the hospital – and there’s some tapping in the background. Vic, listen. I’d really like you to lean back and shut your eyes, and listen to something for me.

You don’t want to talk? Because I can keep going, I think. He sounds desperate.

No, not for the moment. Just listen to this, and then we’ll talk afterwards.

There’s a click, and the playback stops. The end of that recording, and the start of the first session where the Machine started filling in the gaps in what it had taken away.

Beth lies back on the bed. The room spins. The light is still on, and the Machine is on, and next to her – she reaches her fingers out – and then in her hand is the Crown. She shuts her eyes. She can’t stay in here, she knows. Her bed is in the next room. And she doesn’t know what she might do.

12

She doesn’t hear her alarm. Or she switches it off without realizing, one or the other. Her telephone rings and she answers it, confused, thinking it’s the middle of the night because it’s still so dark; and then she realizes that she’s not in her room. She’s on the spare bed. The blackness is coming from the Machine. It’s on, still; the screen dimmed, but still alight.

Hello? she asks.

It’s Laura, comes the voice on the other end. I’m in reception at work. Are you ill?

No, Beth says, but even as she says it she feels the sick in the back of her throat, rising. Her head pounds. What time is it?

Just gone eight, Laura says. I’ll let them know you’ll be late.

Beth gets out of bed and stands still, trying to hold down whatever’s threatening to work its way out of her. She gently strips, trying to move as little as possible, and then pulls on underwear and a skirt and a shirt. She walks to the fridge and grabs a little bottle of water, and then drinks it as she sits on the loo. Everything’s moving still: she sits there with her eyes shut, the coldness of the water so sharp on her throat it threatens to be her undoing. Eventually she stands up. She braces herself against the wall. She’s just doing too much too quickly, she knows.

She pulls her coat on, slips her feet into her shoes. Flats today, even if they don’t go with this outfit. She’s about to leave when she realizes that she doesn’t have her keys, so she scans the surfaces, panicked. She sees them on the floor, by the back wall, where she kicked them the night before, and when she bends to pick them up she sees the Machine through the spare room doorway. The screen isn’t dimmed any more; it’s lit brightly, and the Crown (which she now sees is up by her pillow) is lit around its rim, small yellow lights that indicate the stages of use. Like traffic lights: red is off, yellow is primed, green is go. When it’s green, the Crown must stay on the head. Those are the rules that they were told. (They were never told what would happen if they broke them, and they didn’t ask. It’s not been done, that Beth knows. Some rules seem serious enough to never be broken.)

She picks up the Crown and puts it back on the dock, and then looks at the screen. It hasn’t been used, she doesn’t think – there’s no way of telling directly, because such an indication hasn’t been needed – but she feels okay. She thinks about the damage that she could do to herself, given the chance. She knows that she has these thoughts, but she’s close, now. If she’d had the Machine for longer, just sitting there, then maybe…

Her telephone rings again. It will be somebody else from school, checking up on her. She ignores it, and she’s out of the front door in seconds, and down the stairwell, along the shops, along the front, through the shortcut of another housing estate and then at the gates. Laura is standing in her place, in her classroom, reading the register. She thanks her and takes over, and with every Here, Miss McAdams that the kids give her, her head throbs just that little bit more.

13

The firmware update is the part that she’s been dreading. There are privately linked videos on the internet that show how to do the update, found only through the forums that she uses. The videos have told her what to do, with step-by-step instructions. This is all clandestine, all under the radar. She shouldn’t have a Machine, and it’s not like the instructions are easy to come by. Illegal firmware updates are even more so. Back before the mass recall, when they thought that there was a problem, the first lot of Machines – the ones that could be tampered with, that could have custom firmware installed – were all recalled, all sucked back into the system and, in theory, disposed of, repurposed and turned into the smaller, safer Machines. The one that she has is not small or safe.

The update isn’t something that can be done wirelessly, because of how the reboot process works. Instead Beth needs to get inside the thing. There’s a panel that needs unscrewing. There’s a USB socket inside there, tucked away. Download the firmware to your USB stick, insert it into the Machine. Reboot it by holding all the buttons down with the flat of your hand. Wait there until you hear the triple beep that heralds the Machine’s start-up process. Choose to update firmware, when the screen prompts you. Check the firmware numbers. If it says one thing, you’ve succeeded. Another, try again. Back to the start.

The panel comes away with relative ease. Four screws, that’s it. She looks for the screws to the second panel, underneath the screen. They’re tucked away. Beth has to lie on the floor to undo them, at the join of the screen and the black metal case. She looks up at the Machine towering over her. She hadn’t realized that the front of it isn’t entirely flush, but it’s definitely not. It has a slight undulation. From the floor, looking over its surface, there are slight peaks and troughs. Like razor-blade-black sand dunes.

The USB socket is crude in comparison to the rest of the Machine. Whereas it’s highly finished elsewhere, smoothed over and made accessible, this is like seeing into the guts of the thing. Behind the socket runs exposed wires, reds and greens and yellows, and one solitary black cable that’s thicker than the rest, that coils in and over on itself like an intestine, thick and lumpen. The rest of the Machine is cordoned off with internal panels. Beth reaches up and taps one of these panels and it moves, so she slides it. She’s intrigued. She expects fans and processors and a wall of circuitry that she doesn’t understand, something totally alien to her.

Instead there’s nothing. Past the wires, there’s a hollow, she thinks. Past it, a cluster of wires, leading to something in the centre, but she can’t see what. It’s so dark in there: far darker than the outside. Almost impossible, she thinks. She can’t ever remember seeing such an absence of light. She backs out and looks at the Machine itself, to work out which part of the shell this area lies behind, and see that it’s the bulk of the main section, where the screen is. Again she peers up into it, but can’t see past a few inches, because it’s so black in there. She thinks about getting a torch, but it would be too easy to be distracted. She has a job to do: there’s only five days left.

She goes to her computer. The files – one for every possible firmware combination – have been on the desktop for over a year now, sitting at the top left so she couldn’t accidentally delete them. She’s bought a new memory stick especially, still sealed, so she scissors and hacks through the blister pack to get to it. It’s so light, she thinks.

She puts it into the computer and then finds the right file, cross-matching the file name with that of the Machine. She copies the file across, then renames it into the protocol that will make it actually work. This is the part she’s most worried about: making sure that everything works first time. She’s thought about this, late at night. If she messes it up she worries that she’ll lose her guts and stop. That she’ll eke out the rest of her days with that Machine sitting there in the room, a reminder of her failure. And leaving Vic in that place, like he is. She checks the name of the file three times, making sure it’s exactly what the online guides have told her that it should be.

When she’s positive she takes the memory stick back to the Machine. The guide says to switch the Machine on and then insert the stick, before doing a hard reset. She flicks the power switch and the vibrations start, and the noise. Ding-ding-ding. The screen on, she squats and slides the memory stick in. It clicks neatly into the socket, and the Machine whirrs. Sudden and abrupt, the fans kick in, and the whole thing makes a grinding sound, filthy and enormous, and Beth is almost kicked back onto the bed by the shock. The screen goes blank, replaced with its own blackness – false and printed on, pixels approximating the tone that’s so exact and pure on the outside – and then the noise abates, slightly.

Okay, Beth says aloud. She looks at the instructions – her own transcription of the videos she’s watched, printed out on paper that she’s folded over and over and read a thousand times – and it doesn’t say anything about this stage, but that’s not her problem. She has to stick with the instructions. She can’t expect the people who hacked this all together to write down every little detail.

Put your hand on the screen, her instructions say, and hold it there until you get an option by your index finger to reboot. Press it, keeping your hand there.

She can’t be sure, but she thinks that the Machine is somehow colder. The screen as well, not just the metal. That must be an effect of having the fans on as they are, so loud it’s like being on an aeroplane: the whirr of the engines, readying to take off. That burst of noise and power. But here it’s coming from this box in her spare bedroom in her little flat. She presses her hand flat to the screen and makes sure it’s all touching, and then stands there as the vibrations run up her arm and into her shoulder, and from there to her collarbone and her teeth. Her back teeth she presses together, and they chatter. It’s almost like static: like rubbing a balloon on your head as a child, that same feeling. The instructions don’t say how long to hold it there for. Her arm runs with pins and needles after thirty seconds, and it’s almost painful after a minute, just as the option appears. INSTALL. She moves her finger across to the picture of a button and taps it, and as soon as she does so the Machine stops whirring and the sound completely drops away. She hadn’t realized it, but she had been pressing really hard on the screen, and she almost falls forward, suddenly not having to push against the Machine’s shaking. The screen goes black – not display black, completely lightless – and the sound disappears, and she’s in the room in silence.

She thinks about when they first saw the Machine, when she and Vic were brought in by Vic’s therapist. He told Vic how perfect he would be for the treatment, which was experimental but so perfect, so neat and tidy.

Conventional therapy is usually like sweeping everything away. Under the carpet. The doctor, Robert something, he was the same man who then led Vic through his therapy. She and Vic had thought of it as a sales pitch, and a pretty convincing one. This treatment, Robert said, isn’t sweeping. It’s cleaning. Hoovering. It’s taking a hose to the patio and washing away all the grime and dirt, and leaving it looking good as new. You understand what I’m saying, right? It’s taking the bad stuff away. All these conversations we have, the dreams, the shock you’re going through: we can simply get rid of it.

So why don’t more people do this? Vic had asked.

Because it’s still a secret, the doctor told them.

Beth watches the Machine doing nothing, and it hits her that she’s done something wrong. She’s ruined it: all that money, time, thought, down the drain. She reads the instructions again, which implore her to wait. They say, It will take longer than you think. She pushes herself back onto the bed, up towards the pillows and the headboard, and she folds her legs under herself and watches it. Eventually she lies down and shuts her eyes. She thinks she’s asleep when she hears the whirring, and the familiar ding-ding-ding, and when she opens her eyes the screen is already bright with the menus.

Has it worked? she asks. She presses the information button and the screen flicks to the year, the firmware. CUSTOM, it says, instead of a number. Shit, she says. Okay. She opens the instruction sheet again, her hands shaking. Congratulations, she reads. Okay.

She flicks through the Machine’s menus again. It’s internal structure has been rearranged: where the recordings of Vic from before had been buried in a folder of their own, now they’re the only thing accessible from the MEMORY tab. She presses the button marked on, to check that the files have survived the process.

What are we doing here, Vic? asks the doctor.

We’re here to get rid of the stuff I can remember about the war, Vic says.

And how do you think it’s going.

I think it’s going. Is that enough?

At this point, yes. Absolutely.

Beth presses stop. She shuts the Machine down, and then she goes to the computer and looks at the videos of the process again, and she starts to cry. She’s so close.

14

The next day is hotter still. The predictions were for it to nudge up in to the high thirties, which is more and more common. Beth dresses the same, coats herself in antiperspirant. She drinks glass after glass of water to keep from dehydrating. She looks at herself in the mirror to smooth over her slightly damp brow, to push the hairs back after they’ve become sticky from the sweat on her hairline. She doesn’t care that her makeup is blotchy and matted. She swims for longer than usual, just to try and let the cold water seep into her, to try and make it somehow a part of her: to lower her temperature and allow herself to deal with the day. In her classroom, with her GCSE class, they’re going over The Tempest to set them up for the last day of term, a trip to London to see the Barrage and watch the play in the Globe theatre, but she’s lost them before they’ve even begun.

Be not afeared, she reads. The isle is full of noises.

Sounds like the new estates in Cowes, one of the boys says, and you should be well fucking afeared there, I tell you! and that gets a laugh. She tries to continue but it’s pointless; they’re in their own world for the rest of the class, and so is she. She wishes that they didn’t have the trip, but it’s routine now. Every year, the last day of term. Keeps the kids occupied, and they use what money is left of the annual budget on it, because otherwise that money is lost. Somehow most of the parents found their token monetary contribution – little more than pocket money, really – for the trip. When they give up on the book – the boys protesting about how hot it is, and how they can’t concentrate, and how the words sound invented and like lies – she tells them about the floods, and how it happened. Some of the children, Beth discovers, have never been to London.

What was it like when the floods came? asks a girl, one of the few who seem emotionally attached to what they’re doing.

It was awful; everything was ruined, and so many people lost their houses, all their things. And you know, a lot of people lost their lives.

Where were you when it happened, miss? asks one boy, one of the kids she most dislikes. One of the school’s branded troublemakers. She humours him: at least he’s paying attention to this.

I was at home, Beth says.

Did you watch it on the news?

We all did, yes. It was a really big deal. She loads up the projector (whirr, and then the background hum of a machine doing its work, she notices; doing its job), and then plays one of the files from the network. Watch this, she tells them.

The class are almost completely silent as they watch the video: there’s a bit where a naked woman, comedic in all other respects (unfit, flabby, unattractive), climbs a fence, to the top of her kitchen extension, and then scrambles, sobbing, to her roof to escape the flood; but, mercifully, none of the class laugh. The bodies of dogs and cats in the streets, floating down. The dead being dredged out onto boats. When the video ends there’s only minutes until their first class, and they leave quietly. Beth goes to lunch and sits alone, on a table at the far end. She sees Laura, who makes a beeline for her. Laura doesn’t ask to sit next to Beth – and why would she? They’re not children – but Beth finds it strange, how relaxed Laura is immediately. She starts talking about her life, how she argued with her boyfriend the previous night.

They’ve asked me to stay on permanently, she says. Apparently Mr Westlake is retiring. Something to do with his heart. She eats only salad, Beth notices. Hard-boiled eggs and crispy bacon and dressing and lettuce leaves today. She forks the food, a piece of each component in each mouthful. So I said to Rob, this is something we could do. He said that it was impractical, but we could live in Portsmouth. I could commute. He could commute. It’s a job.

What does he do? Beth asks.

He’s a plumber. Electrician. Whatever he can get his hands on. He’s a handyman, that’s the thing, but they don’t call it that any more. We have three telephone lines for all three parts of his business, can you believe that? When there are no kids nearby she leans closer. What are you doing tonight? she asks.

I shouldn’t, Beth says, not even knowing what’s coming.

Not like the other night. I’ve got a bottle of wine in the guesthouse, that’s all. You can help persuade me that moving here is a terrible idea. Rob’ll thank you for it.

I shouldn’t, Beth says. I’ve got marking to do.

Ah, the perennial excuse. Laura lowers her eyes.

I’d love to, but the work. I have to get it done before we break.

I know, I know. It’s fine. We’ll do it the last day of term or something instead.

Sure, Beth says. She watches Laura walk away and put the remaining leaves of her salad in the bin, the plate on the side.

She remembers how she used to have friends. She used to be sociable. She and Vic went to socials for the army, the wives-and-partners things, and they would sit at the tables with people that they didn’t know and they would make friends, even transitory ones who only stayed their friends for the evening. The people you could talk to and make up details about your lives, or spill secrets to, knowing that you wouldn’t have to see them again. It didn’t matter who you were for that one night. All that mattered was that, the next day, you could start again: she could wake up with Vic and never think about the people they’d met. They were young, and that was how it was for them. You sit next to somebody you barely know; ten minutes later they’re your best friend; ten hours later you struggle to remember their name, past the wine and the dancing.

Beth catches up with Laura in her classroom just before the bell rings, signalling the end of lunch.

Friday, I promise, she says. I just need to get past this stuff.

It’s fine, Laura says.

Friday we’ll go out and have more drinks.

Will there be a social thing? All the staff, something like that?

Oh God no, Beth says. Nobody does that here. Just you and me, I’d think.

Lovely.

When Beth gets home she strips in the hallway and opens the fridge door and stands there in her underwear, pulling herself close to the brightly lit interior. She runs an ice cube over her head and puts more of them into a glass, gets herself wine from the cupboard – she doesn’t keep it refrigerated for some reason – and pours it, hardly gives it a chance to rattle the ice before drinking it almost in one. In the living room she puts the television on, opens the windows to get a draft through the flat, opens all the doors, and she stops and looks at the Machine for a second, thinking about how cold its metal is, and how refreshing and relieving it would be against her skin, but she tries to ignore it, knowing that it’s ready for Vic now – she doesn’t want to mess that up. She puts each of the fans on. On the television they’re all talking about it: on Blue Peter they’re discussing the multitudes of different ways to keep yourself cool when you’re sleeping. They show a young boy, twelve or thirteen, waking up and gasping, then wrapping himself in a cold towel that’s been kept in the freezer.

Quick showers really help to lower the body’s temperature, the presenter says. The boy shivers and grins, because this is preferable to sweating. Don’t run a bath then throw the water away; reuse the water, if you really want one. And more than anything, it’s important to drink lots, to keep your fluids up. Your health is more important than your cleanliness, at times like this, the presenter says earnestly. He’s got sweat on his hairline. Beth defies his advice, and takes herself to the bathroom. She runs both taps, the cold harder and faster than the hot, and when the bath is nearly full, not bothering to check the temperature, she steps in. It’s cold, but that’s okay: she slides back and under it, opens her mouth, lets the water cover every part of her. She doesn’t even think about the bill: since all household water went metered, she’s relied on short, sharp showers. When you live alone, it’s the sensible thing. This is the first bath that she’s had in forever. It feels incredible.

When she’s finished she doesn’t dress. She towels herself dry, dabbing at her body but leaving just enough water that it still feels cool, and she lays the slightly damp towel on the sofa before putting herself onto it. On the evening news they show footage of some coastal towns on the news – Eastend, Hastings, Canterbury – and of people bunking off work and school, the country brought to a halt by the heat. They dance in the water, the beaches crowded like she’s never seen, the sea a mass of hair and bathing suits. The reporter smiles and puts a brave face on it, but he’s dripping with sweat in his suit, desperate to join the throng behind.

This is officially the hottest start to a summer on record, he says, making it sound like that’s something that the audience at home should be happy with. You always used to moan about British summers: look what you’ve wrought. Beth checks her email as they cut to EastEnders, to the actors sweating, wearing cut-off shorts and open shirts, even hotter under the camera lights. This was filmed months before but feels strangely appropriate, seeing them struggle as much as the rest of the country.

Four days left. She calls up pictures of Vic and her on her screen and looks at them. Four days.

15

Beth lies in bed and keeps her eyes shut. She can see Vic, and she tries to cling onto him. The image of him back as he was. He’s telling her about the treatments. What they entail. She’s got a glass of water, and he’s got coffee. Her arm is still bruised. She holds it close to her body.

They say that it’s natural, he tells her. They take away the bits that are broken and twisted and they leave the pure stuff.

What about the gaps? Beth asks him.

They fill it in. The computer has everything it needs to fill in the gaps. They give it a cover story – like, they might say that I was in a car crash – and the computer does the rest.

The computer lies to you?

No, it’s not… It’s more like the computer helps me lie to myself.

Beth thinks about the rules that they were given, a laminated handbook that was theirs to keep. The things that she should and shouldn’t ask Vic about once the treatments started. The things that might happen that seemed strange but that they had to roll with. She would be told the cover story completely, so that she could play along; but the brain often interpreted things its own way. She was to go along with everything.

Never contradict him if he’s sure of something, the handbook told her. And make sure he never finds this handbook. Once the treatments are underway, this should be kept secret, because one day he’ll come home and he won’t remember why he left the house in the first place.

Now, Beth keeps her eyes shut because she can see him as clear as if he was in the room with her. She thinks about how her alarm hasn’t gone off yet, and how there’s something else. An intrusion into her sleep, because even as she dreams of Vic talking to her – holding her arms, however sore they might be, and telling her that it will all be all right, that all of this will be over soon – she can hear something else. In the background. A grind; machinery, road works. An engine, like a train. The noise of tank tracks. And then she realizes: it’s the Machine.

She opens her eyes and she’s in the spare bedroom, on the bed. She’s still in the t-shirt she sleeps in (one of Vic’s, bearing some obscure reference to a film that he used to love) and she’s not under the covers. The Machine is on, and the Crown has been removed from the dock, and is lying next to her on the bed.

No, she says. She sits up but her head swims, and she has to steady herself. She gets to the edge of the bed and taps the screen. She wonders if she deleted something from herself: she’s certainly thought about it before. Everything that gets deleted gets recorded, and she wouldn’t remember doing it. That’s the point. Even as she presses the buttons to take her to the recordings, she realizes that this is the furthest she’s been in the process. She doesn’t know how you would do it to yourself. Whether you’d just talk yourself through something, after pressing the COMMIT button; and how that would feel, talking yourself through to forgetting.

But there’s nothing. In the recordings section, there’s nothing. It’s blank, Vic’s stuff having been moved to the main memory. She’s grateful: she knows that, after a treatment, there’s no way she could have deleted the recording, so she’s clean. She wonders why this happened: how she moved rooms, and if she did this in her sleep. What she was trying to achieve. The Machine’s growl sounds like the rumbling of her stomach: morning hunger. She switches it off and pulls the cable from the wall.

In the kitchen she takes ibuprofen, gulps them down with a full glass of water, and stands by the sink, shaking. She splashes water onto her face. It’s still so early, an hour before she’d usually wake up. Already it feels hotter than the day before.

She spends the hour back in her own bed, staring at the ceiling. She doesn’t want to fall asleep – she’s not sure that she even could, with this headache – so she tries to concentrate on Vic again. On what he might be like when he’s at home, back with her. When she can work on him.

The headache remains. She telephones the receptionist and tells her that she won’t be in, because her head hurts so much that she can’t even see properly.

Migraines are worse in this heat, aren’t they? Beth agrees with her, even though she’s never had migraines before. This must be what it is. She dresses herself and leaves the house. Sunglasses on to protect from the glare, she walks to Tesco and goes to the pharmacy counter, and she asks them for tablets for a migraine. They make her fill out a form: she notices how much the pen shakes; she can barely hold it steady to sign the paper.

Back in her flat she swallows the broad-bean-shaped tablet dry, and then she sits on the sofa with the fan pointed at her head. Sometime after that she falls asleep.

When she wakes up she’s moved herself again, to the spare bedroom. The Machine is still unplugged.

16

She can’t call in sick again the following day, she knows, not this close to the end of term; so she leaves the house after making sure it’s all unplugged. She shuts the spare bedroom door behind her – the Machine’s room, she thinks, as she does it – and checks the locks on her front door twice. She doesn’t know why. The Machine’s not going anywhere.

The heat hits her like a wall. Lots of the kids have already ducked out of school early. They’re on the cliffs, just down from the bit that’s become famous for suicides. Only a few a year, but that’s all that’s needed for fame. More than one and you’re suddenly notorious. It’s only twenty feet lower, but it ducks inwards at the base. No rocks to land on, just water. And this is the part of the island where the water’s at its bluest, and for a second, when you look at it, you can see what the island used to be: the sun glinting off the breaks, the cold blue that runs to you-don’t-know-how-deep. She recognizes some of the kids, but there’s no point in chastising them, because they’ll just jump and hit the water, knowing she will never follow them. They stand on the edge of the rocks, risking falling by just being there, given how chalky and loose the ground is, and then they wind up like toys, before springing off the edge, their limbs splayed, cycling and pounding the air as they fly. There’s a smack as they hit the water one by one, before dragging themselves out and starting the climb up the scree slope next to the point, then the climb up the chalky sides, a long steep path back to the top. And then the process begins again, repeated ad infinitum. Beth watches them for a few minutes. She wonders what happens to them after this.

At school, the kids who have turned up are restless. They know what’s coming. No chance of getting through to them in the final two days, if anybody ever tries. It’s easier to let them do their own thing. Takes the pressure off the teachers, takes the pressure off the kids to learn. Everybody accepts that these are days of failure. Still, Beth knows that she probably won’t be back here, even if the kids don’t yet. Her plan, when Vic is well again, is to go somewhere that’s used to the heat. To take advantage of the low prices, to buy up something on an island somewhere else, where they’re built for the heat. Teach in a school there. She’s thinking of a particular place – it’s the sort of dream people had when she was a kid herself, to pack up and move out to the tropics – but she doesn’t want to over-think it. She’s barely researched it, in case it’s tainted. Tempting fate and all that.

And now there’s extra reason: the Machine. She thinks about it in her flat, like some growth. Mould. Cancer. Waiting in the room, and somehow alluring, persuasive, even. She wants to get away from it suddenly, because it’s a reminder. There’s more to it, maybe. But she doesn’t want to think about it. Back of her mind, until she gets home.

Laura approaches her in the corridor. Feeling better? she asks.

Barely, Beth says.

Those last few days are a killer, aren’t they? You always feel as if your body’s giving up early. She turns and walks with Beth, not breaking step. Are you like me, always getting ill at the end of term? It’s like everything in me says, Oh, now you can be ill. She reaches out and holds Beth’s arm, like a doctor comforting a patient’s loved one. You can be ill on Saturday, she says. You have my permission. She laughs. I can’t, Beth thinks. Saturday’s when I need to be at my best.

They pass some year-ten boys fighting, and they get in between them, pulling them apart. Used to be that they couldn’t physically intervene, but here the rules are different. They have to be. One of the children is clutching a ruler, holding it flat against his palm, using it as some sort of blade. A hard edge on it. The other has thick welts on his back, and his shirt’s torn and pulled up over his hips. Beth frogmarches them both down to the Head’s office, where there are already children waiting, all in similar states of disrepair. She sits them down in front of the receptionist.

Don’t give her any shit, Beth says. They both smirk at her swearing. And don’t smirk at me. I’m sick of you both. Beth can’t remember either of their names, as she doesn’t teach them, but she’s sure that they’re regular troublemakers. She’s seen them before, always sitting here. Waiting.

By the time she gets back to her classroom there’s a note on her desk. It’s from Laura.

It’s going to be a busy couple of days, it reads. See you outside the gates tomorrow at three?

It’s an invitation, not a question. Beth breathes in. She looks at a picture of Vic that she keeps in the drawer of her desk. Two days left.

17

She doesn’t know what time it is, because the flat’s in complete darkness. Outside, on the walkway, she knows, a light comes on at ten and goes off at four. She looks around to see what room she’s in, but it takes her some time to adjust to the light. Total darkness, utterly pitch black. That’s enough: she fumbles for the spare-bedroom door, opening it and letting light in, the faded orange-grey light from the living-room window. She moves again and feels a sudden tug on her head: and on it, the Crown. She puts her hands up and feels the pads, each on a pressure point. Two on her temples. One on the top of her head, the lid. Two smaller pads at the back, towards the neck, hidden away.

No, she says. Her own voice sounds strange to her: distant and vague. She suddenly becomes aware of the hum, sly and driven, in the back of the room. She can’t take the Crown off because she might have pressed something. It could be just the screen that’s asleep, because the Machine – it’s the only part of the room that the light doesn’t catch – is definitely plugged in. She wonders how she’s done this all in her sleep. What’s making her do it. She knows that she won’t have dreamt of anything else: the Machine is all that she’s dreamed of for months now, in one way or another.

She edges towards it. They said, If you take the Crown off and interrupt a procedure, you can cause irreparable damage. (She wonders if that damage is worse than the damage that Vic has already suffered; if they’re related, these two kinds of damage, or somehow the same thing.)

She presses the screen and it flicks on, onto the home page again. COMMIT. PURGE. REPLENISH. She looks at the options, almost invitations. No recordings have been made: she hasn’t used the Machine yet. COMMIT. PURGE. REPLENISH. She wonders if this is it: this is what her mind has been setting herself up for. Telling her, somehow – and Vic’s situation has proven to her that the thing works in a way we can’t and will never understand – that she should press one of them.

Press COMMIT, and talk it through the plan. Press PURGE and remove that plan entirely, letting the Machine fill in the gaps for you. Like you never thought it in the first place.

Beth wonders if the plan – the whole thing, the Machine and Vic and the island and saving up and everything she’s dreamt up for after this stage – is something that she could get rid of in one go. Like pulling off a plaster, swift and sharp. It was always about the depth of the memory: how deep-set it was. With Vic, the hours and hours of interviews, before they even began taking memories from him, covered every aspect of his life. They took him back to his childhood, where he sat in the gardens of military-housing complexes, playing with his GI Joe, which he cast in scenarios with his friends: establishing zip lines with string, launch pads and aircraft carriers with cardboard boxes, theatres of conflict across perfectly mowed lawns. They asked him why he wanted to be a soldier and he said that he didn’t know. That it was just all he had ever wanted to be. So when they rooted for the memory, to pull every stem of it from Vic’s brain, that was where they had to go. Deep down, to childhood. Beth asked them what those earliest memories would be replaced with.

What does any childhood memory consist of in the first place? the doctor said. It’s all much of a muchness. Doesn’t impede his education or his learning. This is a different centre of the brain altogether.

So what does it get replaced with? Beth persisted.

Nothing, the doctor said. It’s one of the few times from a patient’s life that can be removed without replacement, because they remember so little of it anyway. She remembers worrying about that: that the Machine would be putting its own nothingness inside him. A computer-created void. Not just nothing, but like the screen, emulating black, to approximate a state of sleep. A created depiction of nothing. She tried to think about her own childhood: what she could call up was colours of things, and toys; an outfit, maybe, something that she wore regularly; a story told to her so many times about a trip to the zoo – about her father dropping her in a urinal, such a funny story, and she remembered it happening; but did she? Or did she actually only remember the story itself, recounted at opportune moments for embarrassment? And when she was older she remembered birthday parties and holidays and single events, but nothing that she could say was defining.

(That was a long-standing argument of the anti-Machine protestors: who were the creators of the Machine to dictate life and death? To dictate creation? When they protested with their placards, they decided to bring God into it, with the capital letter. They fought for the right to say that the creator defined the soul. That we were made in his image. This is the next stage, after clones and gene therapy: we are changing what that image is. Picking and choosing what we keep for ourselves. Only this time it’s not something physical, something transitory and visible. It’s something that defines who we are, as people. As children of God. They argued that the memory was tied to the soul. And if we could tamper with memory, how long before we could tamper with the soul?)

Beth looks at the buttons. Her finger raises, and hovers. If she could do it, what would she say? This stage, the recitation, always took it out of Vic, and he was so strong. She had to pick him up from the sessions. She had to cradle his body, helping him from the car to the living-room sofa after the worst of them. When they took the deepest parts.

She hears her bedroom alarm in the other room. She pulls her finger away from the screen.

I could do it, she tells the Machine. Like she’s warning it. Like, if she did, it would somehow cease to exist.

18

It’s the last day of term. Before the day has even begun Beth is tired: as she dragged herself to the beach and swam through the cold, every stroke felt harsh and wearing. She drags her feet during the walk to work, to the playground where the big coaches wait to haul them across the water, hundreds of children all desperate to be set loose for the next six weeks. All along the walk she dreams of this going well – of her and Vic, hand in hand, talking like before, everything like before – and she imagines not having to be here any more. Not here, specifically. More the feeling. The sensation of the last few years. The heat is impossible, and worse when she steps onto the coach she will travel in, cheaply reliant on its miniature above-seat fans rather than air conditioning. The children swagger and groan as they take their seats, pre-arranged to avoid chaos. All along the motorway the children sing filthy songs, variations on classics. Replacing the word Love with Fuck. The teachers can’t control them, and there’s no point. If they do, they become the focus of the songs. Easier to let them be 14 and 15 year olds.

London has become a very different city from the one Beth grew up in. The Barrage wall casts much of the Thames into shadow, certainly at the bankside. Time was, sun like this would have rendered the walk alongside the river heaving with people, queuing for the London Eye or sitting on the grass at the front of Tate Modern. Now the South Bank’s nearly empty. The stark concrete of the Barrage doesn’t help matters.

Ugly fucking mound, that, says one of the boys in Beth’s group.

Pubic mound, more like, another says. They all laugh. The first boy isn’t wrong. It looms over them like a dyke of thick mottled cream, tarnished in the last few years from things that have been thrown at it. There are parts where it’s been patched, in case; but the biggest issue is what it does to the view.

Used to be that you’d be able to see the ships, one of the male teachers says, as if the boys will be interested in that, young enough to be fascinated by boats and trains and fire engines still. Ships and boats, up and down. The bridge – he indicates Tower Bridge in the distance – would open and close to let them in and out.

Now it stays up, to accommodate the Barrage’s height. They didn’t expect to have to build the Barrage in the first place, let alone as fast as they did. Beth remembers plans for how beautiful it was going to be, how it was going to complement – their word – the rest of the South Bank, all the way down to Docklands. It was going to be the most practical kind of tourist attraction, that had been the plan. Then they had to rush it or risk losing more of the coast, and that wasn’t an option.

The teachers – seven of them, practically the entire English department – take the children to the Barrage Exhibition Centre, built in what used to be an art museum above a McDonald’s. The children cackle about wanting Big Macs, but they’re corralled through to the different stages of the exhibition. The teachers work efficiently, and soon the kids are watching videos of waves crashing across houses: starting with the hurricanes in New Orleans, in Japan, showing the destruction that they caused. They all go silent when they see these, and when they see the films of the east coast of England, of New York.

In one room, the children line up and stare at a wall of video screens, a wall that curves around them to the sides and above them, across the ceiling. The room falls into blackness and hardly any of the children snigger; and then the sound of water, of screaming. The video begins slowly, blinking in, as if the people in the room are actually standing at the scene, as if this is their eyes; and then they’re suddenly standing on a rooftop, looking down across London as it could be, water troughing the streets. People are screaming through the speakers, begging to be saved; babies are crying, women howling that they cannot reach, a man sobbing that he’s hurt, that he’s trapped. The camera doesn’t move; it just looks around, watching as water starts to fill the city, as a wave brings cars down the streets, hammering through porches, smashing through windows and dredging out belongings. The camera swings around to see the Shard falling in the far distance, the glass smashing, the iron buckling. It looks impossible, and it probably is, but the kids almost uniformly gasp. This is so vivid, Beth thinks. The camera swings back once more, towards the first shot, where the screaming people are now silenced, the streets now empty. There, in the distance, comes a swell of water towards the camera, and the audio starts swelling as well, becoming a cacophony as the water crashes down on the crowd in the room. As it hits, as the camera eye falls backwards, real water, actual water, sprays from some hidden place, and all the teenage girls scream, absolutely caught in the moment. The lights come up, the door opens, and they all laugh and gasp and filter out.

Outside, in the sun, it almost feels like a lie. They all sit on the lawn outside the art museum there and eat the packed lunches that they were given on the coaches, now-warm sandwiches and miniature bags of slightly molten Maltesers. They pose in front of the Barrage wall, all of them, for a photograph which some of the nicer girls print out on their sticker-printers and give to Beth, placing it delicately onto her bag. They run around, playing bulldog on the lawn, boys and girls alike, tearing each other down, tackling each other to the floor. When they’re all finished – and a group of boys who had snuck off and bought burgers instead have been rounded up – they walk down the river towards the Globe theatre. They file inside and are immediately less interested, lost by the presentation that they’re given by the actor who plays Caliban, even though he’s got his makeup on and looks suitably hideous. There’s no air conditioning in the theatre, and the ground seems to be giving off just as much heat as the sun. They sweat and swat gnats as Caliban talks to them.

Sit still and hear the last of our sea-sorrow! he starts. Who feels separated and alone, like they’re not actually a part of society? he asks, skewing his questions for the teenage audience. Some of their hands slowly creep up. Right, he says, and you should. And that’s because we all do, no matter how old we are, or what we do.

Bloody right we do, Laura says.

It’s a natural feeling, a human feeling. It’s hard, this life thing, the actor says, and we all get through it in any way we can. Caliban – you’ve all read the play, right? Murmurs. Caliban spent his life there on the island, alone and scared. And in many ways, that’s a lot like our lives, isn’t it? We spend this chunk of our life alone – or, just feeling alone – and then this ship comes along and our lives are turned upside down. Canst thou remember a time before we came unto this cell?

I’m going to need that drink tonight, Laura whispers again. Tell me we’re still on.

Beth had almost forgotten. She nods. The kids traipse over the set, which is only really boxes fastened together to represent a shipwreck, and some more of the cast appear, still wiping their lunches from their mouths, and act out a scene for the kids. Afterwards, they’re shepherded through the exhibit on Shakespeare and then back out onto the street, which is cooler and has something resembling a breeze running across it. They gasp for the air.

Stay together, the teachers all say, over and over again, because they know that this is the time the boys are most likely to disappear and try to find shops or trouble. They get to the coaches and file them on alphabetically, class by class, checking them off and making sure that they’re all on board, and when they are the doors are shut. On Beth’s coach, some of them say that they need the loo.

You can hold it, Beth says, until we get to the services. She sits by herself at the front, the kids putting a few rows between her and them so that she can’t hear them talking about their day, or frantically making out on the back rows. She can hear, of course: the slurping, the laughter. They stop at Chichester and let the kids out, and when they’re back on the bus the driver puts the radio on and they sing along to songs that Beth doesn’t even come close to recognizing. At school, their parents are waiting to pick them up; the ones whose parents aren’t there, Beth and Laura offer to wait with (Beth offering first, Laura stubbornly refusing to let her new friend out of her sight). There’s six of them, and after an hour – that the kids spend protesting that there’s no way their parents will turn up, because they never do, and they know it all too well – Beth lets them go.

Go straight home, and have a good summer, she says. When they’re gone, Laura gives an exaggerated sigh.

Thank God, she says. She walks to the gate. Come on.

19

The pub is heaving with under-age drinkers, many of them sixth-formers from Beth’s classes.

We can go somewhere else, Laura says when she sees them.

It’ll all be like this, Beth says. She walks in and straight past the kids, towards the back of the room where the real locals have gathered. Some of them are smoking: nobody’s telling them to stop. She thinks that she can use the kids’ presence as an excuse to call it an early night. She thinks about what she has to do tomorrow.

Long day, Laura says. What are you drinking?

Whatever you are.

Pinot?

Fine, Beth says. She forms a plan: to drink a few glasses quickly, not too much, but enough for it to become an excuse. She doesn’t know why she doesn’t just say that she wants to go home. Laura isn’t somebody whose feelings she has to worry about hurting. By the time Laura returns with the bottle, Beth’s decided to get this over with. They’re poured and hers is at her lips, cold against them, before Laura has even set the bottle down.

Okay, Laura says. You needed that, apparently.

Apparently so.

They’re not bad kids, you know.

I said that to you, I think.

I think you did.

They absorb the slight unease of not knowing each other, of being colleagues without the subject of work to discuss any more. Laura brings up the job offer, which is now firm and lettered. There’s a contract if she wants it.

Do you want it? Beth asks. She’s halfway through a glass. Another sip. Question, then drink through the answer.

I think so. It’ll be hard with Rob. Really long-distance all of a sudden.

Won’t he move?

We can’t live together until there’s a ring on this finger, and he’s too scared for that. No, that sounds terrible. But really. It would be good though, I think, being here. I don’t know how you live here, but there are worse places to work. She notices how quickly Beth’s drinking, and she tops her glass up when there’s still an inch left. You must have a really nice flat, that’s all I’m saying.

It’s okay.

Any word when… I’m sorry, I’ve totally forgotten his name. Your husband.

Beth doesn’t know if she told her his name in the first place. She’s so worried about somebody snooping, Googling him and seeing what actually happened to him. Still, she thinks: now it’s too late to affect anything. Vic, she says. Victor.

Vic! Gosh. Proper man’s-man of a name, Vic.

He is, Beth says. Goes with the soldier territory.

So when’s he home next?

Beth thinks about lying. But she can’t, because there are tears in her eyes, and hiding them from Laura – sitting this close – would be impossible without making a scene. Tomorrow, she says.

What?

Tomorrow. He’s back tomorrow.

How long for?

For good, Beth says.

She stands in the ladies and wipes her face with dry, flaky tissue paper, and then watches from behind the crowd at the bar, as Laura fills their glasses again – she’s one ahead of Laura, she thinks. She thinks about those holiday friends and wedding-guest confidantes. She thinks about the wine inside her. How she won’t see Laura again, not after today. She’s disposable and transitory, and so is anything that Beth tells her: details forgotten in the blur of the wine and the night and the rush. She orders another bottle at the bar and goes back to the table.

You all right? Laura asks.

Fine, Beth says. She takes her purse from her bag and pulls the photograph from it: Vic in full dress, hat and coat, medals pinned to his lapel. The only part of that life that she kept for herself, even though she was told to destroy it, for both their sakes. Every other photo is generic. No uniform: just a face with no telling details.

Forget who he ever was, they told her. Burn all the photographs, all the evidence. Sell him the story that he’s been told.

This is Vic, she says. She slides it over.

Very army, Laura says. He looks nice.

He’s sick.

Oh? Laura doesn’t realize. She thinks that Beth means the flu, or a stomach bug. Something not worth worrying about.

He’s not in Iran. He’s in a home. A care centre.

What? She looks at Beth as if this lie has been going on for years: burned, rather than just annoyed by somebody else’s secrecy What happened?

Not just now. For years. He’s been in one for years. He came back and he was having dreams, and he became violent. She says it in her flattest tone: able somehow to make it sound like something unimportant, this story that she told so many times when he was first taken away from her. When, almost overnight, the situation became intolerable for her, as everything about him collapsed and devolved.

So he had treatments for it, and…

She doesn’t have to finish the story, because everybody knows how it ends. A tiny percentage that still rolls into the thousands, men and women taken away from their families, set up in places where fixing them isn’t an option – and in return no more than an apology. No compensation, no legal recourse: they signed a document because they were so eager to be fixed in the first place, and they were told the risks. Spelled out to them in numbered bullet points spanning pages and pages, all with their signatures at the foot. So instead they paraded and marched in protest, husbands and wives and children standing next to their loved ones in their wheelchairs. But that got them nowhere, because of those thousands of signatures.

Laura drinks because she doesn’t know what to say. Beth fills her glass for her, and her own. She’s past her own limit, when she had been planning on making her escape. But it feels good, she thinks, to talk about this. Laura’s the first person she’s told since she left London. She came here for anonymity and a new start, and to stop people asking her how he was doing. When Laura speaks next, it’s the first time she’s heard the question in years. It almost sounds fresh from Laura’s mouth.

How is he? she asks. She doesn’t know how to phrase it. There’s no way to ask the question, not really, because the answer is always so clear-cut.

He’s destroyed. He’s hardly my husband any more, Beth says.

But he’s coming home?

Beth nods.

You’re taking him out of the hospital? Beth notices something: Laura’s hand up at her neckline, fiddling with the necklace underneath her collar. Are you sure that’s wise? Laura asks.

I think I can help him, Beth says. I think I might be able to start making him better.

Do you pray for him? Laura asks.

What?

Do you pray for him? Because it might help. It might… I don’t know, Beth. She’s nearly in tears, Beth notices. She drinks more as Laura sobs. Some of the kids are noticing, looking over from the bar where they’re dropping shot glasses filled with some liquid the same colour as the Machine into their pints, the mixtures mingling and coalescing. They laugh at the two teachers, and one of them raises his fingers in a V to his lips, pokes his tongue through. Laura wipes her face. How can you help him now? she asks. She seems almost desperate.

There are some people – on the internet – who think you can rebuild somebody. Recreate them, almost.

Oh, no, Laura says. No, no. That’s why you got into this trouble in the first place.

Trouble?

It’s not our place to meddle, Beth. There’s an earnest look in her eyes that Beth’s seen before: in the protestors who stood outside the clinics, telling them that it was their own fault when the patients began to collapse. The malice of their self-righteousness.

Look, I shouldn’t have told you this, Beth says. She tries to wheel the conversation backwards. Laura used to be logical and easy. Not any more, now that this is out. This is a burden. It’s mine, not yours.

No, Laura says. Almost shouts. I think this has happened for a reason. It’s good that you told me. You shouldn’t go through something like this alone.

I should go, Beth says. She stands up. She necks the wine left in the glass. It’s already gone to her head: she can feel it, swimming around.

Beth, I could pray for you both. I’ll show you how, Laura says. Beth sees the cross front and centre, suddenly brought forward to the front of the shirt, hanging down. Not a simple cross: a crucifix, a miniature figure hanging from his nails. A miniature crown of thorns on his head. That’s the best way to deal with this, you know.

Beth forces her way through the crowd of students, ignoring their comments, and out into the air. She expected it to be cool, for some reason, where the pub had been so hot: she’d forgotten. Instead it’s dense and cloying. She rushes off. Laura doesn’t follow her.

She passes the point where the children leap off into the sea, and they’re still there, or a different group of children are. Leaping from the outcrop of grass-tufted rock into the pitch blackness, only knowing that they’re jumping out far enough when they smack the water. And when their friends hear that smack they all laugh, as if each plunge is a belly-flop, and each dive a bomb. She stands back by the railing – set twenty feet away for safety, because the authorities didn’t know if or when more of the cliff might slump down further – and listens to them, trying to pick out anything other than shouts and giggles. They’re only teenagers, somewhere between thirteen and sixteen, she reckons, boys and girls, and she thinks she can see that they’re all naked. But there’s nothing really sexual about this: just the leap and the darkness.

Down the path, only thirty metres away, she ignores the sign that implores her to call the telephone number on it and discuss her situation with the friendly-looking man on the other end, the sign that tells her that it’s never as bad as she thinks it is. She stands on the lip of the cliff and she can feel the alcohol inside her, making her sway. A bottle of wine, that’s all it takes these days. She thinks about when she and Vic got together, and how they were. How they would go out and drink with their friends, and how that led to their wedding, where they flooded the guests with booze. A good party, that’s all they wanted.

She looks out at the darkness, and she thinks about the nothingness that replaced all of who Vic was, like a virus. Deleting cells, replicating itself. The Machine, filling in the gaps with things that didn’t stick, stories of its own creation to cover up the cracks. And what makes her think that it will be so different this time? Because the stories are Vic? From his own mouth, 100 per cent pure and unfiltered, every part of his life spilled onto digital tape? She doubts herself. She doubts the Machine.

This isn’t me, she says aloud, to reassure herself. The kids down the way somehow hear her – and she wonders if she shouted it, even a little, or if it was just the wind – and they stop being children and become animals all of a sudden.

Go on! one of them yells. His friends laugh. She’s sure that she recognizes the voice: the same cracked broken deepness of the bike boy who lives on her estate, who calls out to her, sexually threatening even for somebody so young. Go on, you cunt! Give the world a fucking break! He doesn’t know who she is. He can’t see her from here, and he wouldn’t recognize her voice – although, she recognized his, didn’t she? – and this is all for show. If she did it, he would never forgive himself, she thinks. That’s what she hopes. To teach him a lesson would be the worst reason.

She backs away from the edge. She can’t see the boy in the darkness, and they’ve all fallen silent. There are no lights here, only the moon. She waits, suddenly scared; and then the laughs start again, and she hears the boy jump. She hears his laugh arc through the air, and the splash, and a second – maybe two – where there’s no noise. She wonders if he made it.

His laugh cuts through the air from the water below. Beth turns and heads up the path. The estate is quiet. She unlocks the door to her flat. She can hear it, already.

20

Beth sits in the living room on the sofa. Her last night alone. She thinks about the night before her wedding, and the forced trip to the pub.

This is your last chance, her maid of honour told her. You should relish this. Your last night alone!

Last night alone! they all chanted at her in the pink minibus that passed for a limousine.

I hope you make a few decent mistakes, her maid of honour said. She barely drank what wasn’t forced into her hand, and when she got home – not quite blind-drunk, but blurred and slurring – she telephoned Vic. He answered her, asking how she was. She told him.

No mistakes, she said.

Okay, he told her. She knew that he could never sleep once he’d woken up, and there he was the next day, at the altar with aubergine eyes. He hadn’t slept, and she had.

She opens the bottle of whisky that she’s kept underneath the sink with the cleaning products, out of sight. Vic’s favourite, a Scottish one that he got a taste for. Not the best stuff, but certainly not the cheapest. She was saving it.

I need this more than you, she says. She pours a glass and it splashes as it hits, but she doesn’t care. The smell on the carpet means nothing. The vibrations through the flat, through the sofa and into her: they’re all that she can feel. She swallows it all in one go. This can’t be real, she says. You’re trying to scare me. She puts the television on, doesn’t matter what channel, and she turns on the fans and pours another glass. She can feel it going straight to her. And Laura betrayed her, she thinks: she suggested she was something, but she was something else. How dare she judge me? Beth asks.

She lies back on the sofa, to block out the noise of the turbine in the Machine’s room, and the vibrations, and the sudden pain in her head.

What would I like to forget? Vic asks. His voice fills the flat, loud and clear. Like he’s actually there, played back by the Machine on the highest volume it can muster. This is from later on in his treatments. When it started, it took forever: like it was massaging his memories to find the knot. One by one, they came. I’d like to forget what I did after I got back. How I treated Beth.

Didn’t they medicate you? the doctor asks.

They gave me opioids. Do you know what they do to a person? How much they rob of you? I couldn’t take them after the first few.

Maybe they could have helped.

No. No. I was responsible for what I did. His voice degrades into tears, and that’s the sound that comes over the Machine’s thrum: her husband sobbing. I want to tell her that I’m sorry, he says through the tears.

Beth stands up and walks to the doorway of the Machine’s room. She doesn’t go in: she stands against the connecting wall instead. She leans against it. She cradles a full glass of whisky, raising to her lips every so often and sipping. Letting it sting her lips where the heat of the days has made them crack very slightly.

So what would you like to forget? the doctor asks.

That. I’d forget that I hurt her. I’d forget that I did this, and that I was – that I am – the man I am now. I don’t recognize myself when I’m like that. I’d get rid of that.

Don’t, Beth says.

I would get rid of everything that made me that man.

Don’t.

Do you know what we’re doing here, Victor?

You’re helping to make me better. That’s what I know.

Why you’re wearing that Crown? Why we’re talking like this?

Something. He pauses, unsure of himself. Beth can hear it in his voice. She knows every nuance. You’re taking away memories, is that right?

That’s right, the doctor says. Beth can see him now, pressing the PURGE button on the Machine’s hulking screen: flushing everything that had been said before away. She rounds the corner and goes into the room, and there’s the Machine. She doesn’t know how it’s playing this for itself. (There was a part of her that expected to see Vic and the doctor, sitting here, playing this out for real: that’s how fake this all feels to her, like an accident or a lie, or a dream.)

How dare you? she asks. She puts her hands on the metal, which is so cold, and the shaking, which roars along her bones. Into every part of her. Come on, she says. The screen isn’t showing anything. That same painted blackness. Come on. She hits it, a punch with the flat of her fist. Play me more of him. Tell me more about what he felt.

It obliges.

What are we doing? Vic asks, another file starting. Must be the next one, chronologically. I’m so sorry, what are we doing?

Not the doctor’s voice, next. Beth’s. We’re trying something, she says.

It’s not time for a treatment, he tells her. I didn’t mean it, please don’t punish me.

I won’t. This isn’t punishment.

There are rules, Vic’s voice says. I remember that they told us.

No, Beth now says, listening to it. Not this one.

The Beth in the recording is persuasive. She sounds so strong and confident. The rules are for your safety, she says, and we won’t break them. But they told me to help you with your treatments, didn’t they?

Yes. He’s so docile.

Don’t play this, now-Beth pleads. She presses the Machine’s screen but she can’t get it to wake from its sleep. Please, she begs.

What happened earlier today? then-Beth asks. She’s wiping something. Erasing something beyond his normal treatments. Do you remember?

I didn’t mean to, Vic says.

I didn’t ask that. I asked what happened.

We had a fight, he says. Oh my God, I’m so sorry, I’m so sorry.

That’s okay. You’re not yourself. I have to press this, then-Beth says. Now-Beth sees it happening: COMMIT depressed. Ready. Primed. What did we fight about? then-Beth asks.

I had a dream.

What about?

I was fighting. Some sort of fight. I had a gun. I was, uh. Something exploded. I was there, and then… I don’t know, I don’t know.

Shh. Tell me everything you can remember.

There was an explosion and my head was on fire, like burning, with the pain. And I had to shoot somebody or I would have been dead. I remember that.

Where were you?

Somewhere hot. Not here, though. Hot like the desert, somewhere like that. It was so hot. Went right through my helmet. I had a helmet on. Then I woke up, and you were there, and I didn’t mean it, but I was so confused.

What did you do then?

Now-Beth can hear it in then-Beth’s voice: the slight tweak of her jaw, which would soon start to swell, although she wasn’t even aware that it had been fractured. I don’t need to hear this again, now-Beth says. Turn it off. Vic’s voice speaks through her, above her. She hits the screen again, so hard that it should break, she thinks, but it doesn’t, and then she scrabbles to the floor and to the plug. She pulls it from the wall but the Machine continues to whirr. The turbines keep spinning. The voices are gone, but the screen is still on. Backup batteries, in case of power cut. The only way to shut it down now would be to destroy it, to open it up and cut its cords. She doesn’t.

She takes the Crown down from the dock and puts it onto her head. Perfect fit, always is.

Is this what you want? she asks it. Do you want more of me?

She doesn’t press the buttons. She lies down with the Crown on, and she thinks, as the room spins and she feels herself sleeping, so quickly, so exhausted and shocked and terrified, that it will do what it will to her. And it can’t do anything that will change her mind about this.

Tomorrow, she will get Vic from the clinic. Tomorrow she’ll bring Vic home.