‘Do you dare me to do it?’
Jon’s eyes widen. ‘Dare you to do what?’
Peter tips his chin at the metalwork. Where the two gates meet there is a great latch, around which scales of ice have built up, like the hide of a winter dragon.
‘Go on, Jon Heather. Just tell me you dare it …’
Suddenly, the idea has taken hold of Jon as well. ‘OK,’ he says. ‘I dare you!’
Peter finds a stone under the trees and, taking it in his fist, hammers over and over at the ice. When the first shards splinter off, neither Peter nor Jon can stop themselves from beaming. A big chunk crashes to the ground, spraying them both full in the face, and they laugh, long and loud. Now, at last, the lock is free.
Peter stands back to admire his handiwork. He shakes his hand, trying to work some feeling back into his fingers.
‘Well,’ Jon says, ‘go on! That wasn’t the dare …’
With aplomb, Peter drops the rock, flexes his fingers, and takes hold of the latch. He moves to lift it, but the latch is still stuck. Still, not to be dissuaded, he tries again, each time straining harder, each time falling back.
‘You try,’ says Peter. ‘I can’t get a grip …’
But Jon Heather simply stands still and stares – and when Peter, nursing a frozen hand, asks him why, Jon just raises a finger and points. Unseen until now, above and below the latch there stand black panels with big keyholes set in each. Though they too are coated in ice, it is not the winter, Jon sees, that is keeping the boys entombed.
Something draws him to look over his shoulder. From a window high in the Home, surely in one of the barren rooms, the ghostly image of a man in black peers out. He has, Jon understands, been watching them all along, safe in the knowledge that they cannot escape. ‘Peter,’ he says, ‘we’d better get in.’
Before Peter can reply, a sudden cry goes up. When they look back, the little fox-hole around which they had been camping has been overrun. In the middle of a platoon of six- and seven-year olds, George sits dusted with the prints of a hundred snowballs, their atom bomb lying in pieces on his lap.
Jon sticks with them in those first weeks. When Peter is with them, the bigger boys in the dormitories leave them alone, and he and George are free to sit and push draughts across a chequered board, or make up epic games with the flaking lead soldiers that they find.
On the final day in January, they have ranged lead soldiers up in two confronting armies, when George asks about Jon’s mother once again. Jon does not want to hear it today. He has been counting down the days, and knows now that he is beyond halfway in this curious banishment.
‘Did she have short hair?’ George asks. ‘Or was it long?’
A ball arcs across the assembly hall, skittering through their tin soldiers to decimate Jon’s army and leave George victorious. From the other side of the hall, the hue and cry of the bigger boys goes up. Jon reaches out to pass back their ball, George scrutinizing it like it is some fallen meteorite, but he is too late. Out of nowhere, Peter lopes between them and scoops it up.
‘He asking you about your mother again, is he?’ Peter drops the ball and kicks it high. One of the other boys snatches it from the air and a ruckus begins. ‘George, I told you before. Don’t you make it any worse for him than it already is.’
‘I just want to know what she’s like.’
‘He shouldn’t be thinking about his mother. You remember how much time you spent thinking, and look where that got you.’
One of the other boys launches himself at the ball and sends it looping towards Peter – but Jon scrambles from the floor and punches it out of the air. ‘My mother’s nearly here,’ he begins. ‘Less than four weeks.’
‘Jon,’ Peter says, waving the other boys away, ‘I’m not saying it to be cruel.’ He turns, chases the ball, and disappears through the hall doors.
Sinking back to the ground, Jon gathers together the tin soldiers and begins to prop them back into their ranks. He is determinedly lining them up when George reaches out to pluck up a fallen comrade and stand him next to Jon’s captain. ‘If she does come back,’ he whispers, ‘I’d like to see her, just for a second.’
The snows subside as February trudges by, and the boys are released into the grounds on more and more occasions, so that soon it is simple for Jon to find some cranny where he can curl up and while the day away. Now, there is an eerie stillness in the Home, only the guardian men in black ghosting wordlessly around, sometimes hovering to watch their boys at play. The sun-tanned man in black is the worst, forever appearing in a doorway to prey on a boy with his eyes and then nodding sagely if a boy returns his gaze, as if, somehow, a secret pact has been arranged.
George has pestered Jon this morning for more games of lead soldiers, but Jon has concocted a plan. Peter may think he knows everything; he may think that, because he has lived for years among the men in black, he can never be wrong – but Jon knows his mother is returning. What’s more, he can prove it. He remembers the letter she pressed into his palm, that night she left him behind. In that letter, there is surely the proof that his rescue is imminent. He will find it and he will make Peter read every word – and, in only one week’s time, he will wave goodbye to Peter and George and never think of this Home ever again.
He waits at the head of the stairs as the men in black hustle a group of boys out into the pale winter sun. When all is still, he creeps down the stairs. The entrance hall is the centre of the Home, the chantry on one side, the dormitories circling above – with all of the other offices where the men in black live and work snaking off behind. It is along these forbidden passages, in that labyrinth of boarded and dead rooms, that he knows he will find the irrefutable truth that will be his sword and shield, words scribbled onto paper with a signature underneath.
He is about to set off when one of the men in black appears from the chantry. It is the man with leather skin, tanned by a sun that has barely shone since Jon was left here. His hair is piled high, his eyes deep and blue, and for a second they fix on Jon. Then, a voice hellos him from deep inside the chantry, and he turns. Jon seizes the opportunity and scuttles away.
He has never walked along this corridor before. It drops down unevenly and, on each side, there are chambers. He peers into the first and sees a stark room, as austere as the dormitories above. In the next, a black cowl hangs against a bare brick wall, bulging out so that, for a second, Jon believes a man might be hanging inside.
At the end of the corridor, a tall door looms, its panels carved with branches and vines. The door is heavy, but not locked. Inside, the chamber broadens from a narrow opening and winter light streams in. There are no beds here, only ornate chairs around a varnished table, and a thick burgundy rug covering the floor. Jon dares to step forward, his bare feet sinking into the shag.
He looks up. He marvels. Two of the walls are lined in books, but on the third wall, facing the windows so that its picture might be seen from the grounds outside, there hangs a great tapestry.
It is unlike anything he has seen. On the left, there stands the broadside of a ship, moored at a jetty with sailors hanging from the rigging, gangplanks thrown out – and there, on the deck, a single man in black with his arms open wide. Beneath him, the jetty is crowded with children, a cacophony of arms and legs all groping out to reach the ship. Among them, more men in black stand. They are not shepherding the children on, but each has his head thrown back, as if to send up a howl like a lonely, vagrant wolf.
As Jon looks right, the tapestry changes, its scale lurching from big to small. The children gathered on the jetty become a thin procession standing in the narrow streets of some cobbled city. Maidens in long white robes lounge over the rails of balconies above, their eyes streaming as they rain shredded