Ingénue
Friday, December 3rd, 2010by Mike Alexander (c. 1400 words)
This is my contribution to TTA Press’s Advent Calendar 2010. To read the other stories or find out more about Black Static, Interzone and Crimewave, please visit The TTA Press website.
The final curtain has fallen. Back in my dressing room, de-wigging in front of the big mirror, I feel a strange mixture of relief and emptiness. The gruelling, months-long merry-go-round of matinées and evening performances is over at last. Until the next time, of course. There’s always a next time.
The show has been a success. Muffled congratulations seep through from the corridor, as the young actors fawn over the writer, the director and each other. Tonight they will celebrate – eat too much, drink too much, talk too much – and after all, who can begrudge the young their excesses? I will join them, for a while at least. I shall smile politely, drink slowly, retire early – playing the benevolent great aunt, which seems ever to be my role these days.
I rub my face with cold cream, watching the stage mask dissolve. The mirror’s lights are cruel, finding every line and blemish. But this face is strictly between me and the glass – the dressing room door will remain locked until I’ve put on my other mask, the one I wear off-stage. Even the make-up artists don’t see me without a little foundation, which I insist on applying myself. I seem to have lived my entire life behind one mask or another, and I’m not about to change now.
As I’m putting the final touches to my off-duty make-up, there’s a knock on the door. A polite knock, followed by a gentle voice:
“Mrs Carrington? Hello?”
It’s her – it’s Angelique, our American ingénue. I rise stiffly, double-checking my face and hair, then step across and draw back the deadbolt.
“Mrs Carrington, sorry to disturb you…” She looks flushed, slightly breathless, which makes her appear even younger than usual. Perhaps she’s tipsy already.
“Nonsense dear,” I say. “Please, do come in.” I usher her into the spare chair.
“Mrs Carrington. I just wanted to say thanks for all the help you’ve given me over the past months. I guess there’s no substitute for experience. I really appreciate your generosity – and patience.”
“Think nothing of it, my dear. What use is experience if it cannot be shared? Besides, you’re a fast learner – patience didn’t come into it.”
She flushes a little, still unsure how to handle a compliment. “Oh, and I got your invitation,” she says. “I’d be honoured – I mean delighted.”
“Ah, lovely,” I smile. “So glad you can make it. And I do hope you’ll forgive me for booking The Clarence. I’m afraid you will find it terribly old fashioned.”
“That’s OK – I like old things.”
“Well you’ll be alright with me then,” I quip.
* * *
She arrives on time, not fashionably late as I had anticipated. Still, no matter. Everything is in place. I believe I have chosen well. In truth, I’ve grown rather fond of this jeune naïve, with her unselfconscious lack of convention. Would that I could own such innocence. Perhaps my admiration ought to be an obstacle to the act that must follow – yet it doesn’t strike me so.
We chat about the show, about our next plans. She has an audition – a small film part. I wish her luck. I do not offer advice – it seems pointless at this stage. She reminds me of the half-dozen films I made in my youth. I’m surprised, and flattered. Don’t the young have better things to do than watch tired old movies in black and white? We discuss all this over our salmon, which I can tell she finds slightly overcooked. I’m sure the vegetables are too soft for her too – young people seem to like everything half-raw these days.
It’s not until after the main course that she retires to the powder room. I waste no time. The compound dissolves quickly. I have chosen the champagne carefully; a somewhat unconventional flavour, slightly nutty, which disguises the bitterness rather well. She will not notice, and even if she does, she’ll be too polite to say anything.
* * *
“Are you sure mademoiselle is alright?” says Michel as we collect our coats. The gaunt face, with its clipped grey moustache and baggy eyes, is full of concern.
“I’ll be fine, just fine,” says Angelique. “A little too much champagne, that’s all.”
“My hotel room is nearby,” I say. “Perhaps we should walk? The fresh air will do you a power of good.”
She agrees, and we set out into the London street. But the air isn’t fresh at all – it’s a muggy afternoon in the city, and the exertion will only serve to speed the draught around her body. She leans on me, giggling, and apologising for her drunkenness. “How silly of me,” she keeps saying. We reach the hotel at last, and enter the lift. As it lurches, she staggers off balance and I have to steady her. By the time we reach the door to my room, I’m almost carrying her.
“There. You must have a rest on the bed, my dear. You’ll be right as rain in no time. Can I get you a drink at all?”
“Water… Just water,” she mumbles. The voice seems to come from somewhere deep underground. I go to the little bathroom to fill a glass. As the tap runs to cold, I catch myself in the mirror. Am I evil? I wonder. Does it show in my face? But it’s only a mask, I remind myself. And this is purely about survival. Morals don’t enter into it.
When I return, she is already deeply asleep. I set the glass down on the bedside table, then spend a moment admiring her body, like a wine connoisseur lingering over a fine bouquet. The youthful perfection of those long limbs and lovely curves stirs something in me – a curious desire; not sexual, but rather the sort of existential yearning that can never be quite defined, let alone gratified. But I do not allow myself such indulgence for long. There is an act to get through. I remove my shoes and jacket, then climb over her recumbent form. I place my face over hers, drinking in the perfection of her features, then carefully, delicately, touch my mouth to her lips. She yields beautifully – not even a groan of objection. And then I am probing softly inside her, slipping in, exploring. Merging. The migration has begun. When I feel myself completely inside her, I push the old lady gently but firmly away. The shock of the separation is like plunging into cold water.
* * *
She’s waking, alongside me. She immediately senses something is wrong.
Shhhh, I whisper. Don’t worry. I’m here to help you now. I say this without moving her lips, but simply as a voice in her head. She sits up, takes in her surroundings. She’s confused to see the old lady sitting in the chair, smiling absently – a rag-doll, an automaton. She senses instinctively that it isn’t me.
“What’s going on?” she says out loud. The old lady ignores her.
Shhh, I say. You don’t have to speak out loud. I can hear you perfectly well. It will only upset the old lady.
“But I can’t… I mean, you can’t -”
She’s on her own now, I say. Probably won’t last very long, I’m afraid. But she’s had a good innings. She’s had her time in the limelight. Whereas you – you’re only just starting out.
I sit her down in front of the dresser mirror, tucking a stray lock of hair behind her exquisitely sculpted ear. Just look at yourself, I say. You’re beautiful – young and sweet and talented and beautiful. With your looks and my experience, we can do anything we like. Maybe even go to Hollywood.
I watch her face move from disbelief to realisation, to something approaching revulsion. She feels violated, and I can’t blame her. They always do, sooner or later.
Don’t be like that dear – why not relax and enjoy the ride? We’re going to have a blast!
“Who are you?” she says, staring at our reflection. Then, barely even realising the shift, she stops talking out loud. I mean, really? What are you? We glance across at Mrs Carrington, still smiling dumbly in the little dressing-table chair. How many others have there been? How long… how OLD are you?
I laugh, silently, humourlessly. My dear, I am as old as theatre itself.