The Girl With All the Gifts Page 3

  Again Miss Justineau thinks about it for a long time, until Melanie is sure she won’t answer. Then she says, “Your mother is dead, Melanie. She died when you were very little. Probably your daddy’s dead too, although there isn’t really any way of knowing. So the army is looking after you now.”

  “Is that just Melanie?” John asks. “Or is it all of us?”

  Miss Justineau nods slowly. “All of you.”

  “We’re in an orphanage,” Anne guesses. (The class heard the story of Oliver Twist once, on another Miss Justineau day.)

  “No. You’re on an army base.”

  “Is that what happens to kids whose mum and dad die?” This is Steven now.

  “Sometimes.”

  Melanie is thinking hard and putting all these facts together inside her head, like they’re pieces of a puzzle. “How old was I,” she asks, “when my mother died?” Because she must have been very young if she can’t remember her mother at all.

  “It’s not easy to explain,” Miss Justineau says, and they can see from her face that she’s really not comfortable talking about this stuff.

  “Was I still a baby?” Melanie asks.

  “Not really. But almost. You were very young.”

  “And did my mother give me to the army?”

  Another long silence.

  “No,” Miss Justineau says at last. “The army pretty much helped itself.”

  It comes out quick and low and almost hard. Miss Justineau changes the subject then, and the children are happy to let her do it because nobody is very enthusiastic about death by this point.

  So they do the periodic table of the elements, which is easy and fun. Starting with Miles in the front row at the very end, everyone takes turns to name an element. First time around they do it in straight number order. Then they reverse it. Then Miss Justineau shouts out challenges like “Has to start with the letter N!” or “Actinides only!”

  Nobody drops out until the challenges get really hard, like “Can’t follow in group or period, and has to start with a letter that’s in your name!” Zoe complains that that means people with long names have more chances, and she’s right, obviously, but still she’s got zinc, zirconium, oxygen, osmium, einsteinium, erbium and europium to choose from, so she’s not doing too badly.

  By the time Xanthi wins (with xenon), everyone is laughing and it looks as though all the death stuff is forgotten. It isn’t, of course. Melanie knows her classmates well enough to be sure that they’re turning Miss Justineau’s words over and over in their minds, the same way she is – shaking them and worrying at them, to see what insights might fall out. Because the one thing they never learn about, really, is themselves.

  And by this time, Melanie has thought of the big exception to that rule about kids having mothers and fathers – Pandora, who didn’t have a mother or a father because Zeus just made her out of gloopy clay. Melanie thinks that would be better, in some ways, than having a mother and a father who you never even got to meet. The ghost of her parents’ absence hovers around her, makes her uneasy.

  But she wants to know one more thing, and she wants it badly enough that she even takes the chance of upsetting Miss Justineau some more. At the end of the lesson, she waits until Miss Justineau is close to her and she asks her question really quietly.

  “Miss Justineau, what will happen when we’re grown up? Will the army still want to keep us, or will we go home to Beacon? And if we go there, will all the teachers come with us?”

  All the teachers! Yeah, right. Like she cares if she ever sees Mr Slippery-Voice-Whitaker again. Or boring Dr Selkirk, who looks at the ground the whole time like she’s scared of even seeing the class. She means you, Miss Justineau, you, you, you, and she wants to say it, but at the same time she’s scared to, like saying the wish out loud will make it not happen.

  And she knows, again extrapolating from the stories she’s read or heard, that children don’t stay in school for ever. They don’t set up home with their teachers and live there and be there with them when school is finished. And although she doesn’t really know what those words mean, what school being finished could possibly be like, she accepts that it will someday happen and therefore that something else will start.

  So she’s ready for Miss Justineau to say no. She’s hardened herself to let nothing show in her face, if that’s the answer. She really just wants the facts, so she can prepare herself for the grief of separation.

  But Miss Justineau doesn’t answer at all. Unless the quick movement of her hand is an answer. She puts it up in front of her own face as though Melanie has thrown something at her (which Melanie never, ever would do in a million years!).

  Then the siren whoops three times to signal the end of the day. And Miss Justineau ducks her head, pulling herself together after that imaginary blow. And it’s sort of a strange thing, but for the first time Melanie realises that Miss Justineau always wears red, somewhere on her. Her T-shirt, or her hairband, or her trousers, or her scarf. All the other teachers and Dr Caldwell and Dr Selkirk wear white, and Sergeant and Sergeant’s people wear green and brown and greeny-brown. Miss Justineau is red.

  Like blood.

  Like something about her is wounded, and not healing, and hurting her all the time.

  That’s a stupid idea, Melanie thinks, because Miss Justineau always smiles and laughs and her voice is like a song. If something was hurting her, she wouldn’t be able to smile so much. But right then, Miss Justineau isn’t smiling at all. She’s staring down at the ground, and her face is all twisted up like she’s angry, sad, sick – like something bad is going to come out of her anyway, and it might be tears or words or vomit or all three.

  “I’ll stay,” Melanie blurts. She’s desperate to make Miss Justineau feel okay again. “If you have to stay here, I’ll stay with you. I wouldn’t want to be in Beacon without you there.”

  Miss Justineau lifts her head and looks at Melanie again. Her eyes are very shiny, and her mouth is like the line on Dr Caldwell’s EEG machine, changing all the time.

  “I’m sorry,” Melanie says quickly. “Please don’t be sad, Miss Justineau. You can do whatever you want to do, of course you can. You can go or stay or…”

  She doesn’t get another word out. She crashes into total, tongue-tied silence, because something completely unexpected and absolutely wonderful happens.

  Miss Justineau puts out her hand and strokes Melanie’s hair.

  She strokes Melanie’s hair with her hand, like it was just the most natural and normal thing in the world.

  And lights are dancing behind Melanie’s eyes, and she can’t get her breath, and she can’t speak or hear or think about anything because apart from Sergeant’s people, maybe two or three times and always by accident, nobody has ever touched her before and this is Miss Justineau touching her and it’s almost too nice to be in the world at all.

  Everybody in the class who can see is watching. Everybody’s eyes and mouths are big and wide. It’s so quiet, you can hear Miss Justineau draw a breath, with a little tremor at the end of it, as though she’s shivering from cold.

  “Oh God!” she whispers.

  “Here endeth the lesson,” says Sergeant.

  Melanie can’t turn her head to look at him, because of the neck strap on her chair. Nobody else seems to have seen Sergeant come into the room either. They’re all just as surprised and scared as she is. Even Miss Justineau looks scared, which is another one of those things (like Sergeant having a name) that changes the architecture of the whole world.

  Sergeant walks into Melanie’s line of sight, right behind Miss Justineau. Miss Justineau has already snatched her hand away from Melanie’s hair, as soon as Sergeant spoke. She ducks her head again, so Melanie can’t see her face.

  “They go back now,” Sergeant says.

  “Right.” Miss Justineau’s voice is very small.

  “And you go on a charge.”

  “Right.”

  “And maybe you lose your job. Because
every rule we got, you just broke.”

  Miss Justineau brings her head up again. Both her eyes are wet with tears now. “Fuck you, Eddie,” she says, as quietly and calmly as if she was saying good morning.

  She walks out of Melanie’s line of sight, very quickly. Melanie wants to call her back, wants to say something to make her stay: I love you, Miss Justineau. I’ll be a god or a Titan for you, and save you. But she can’t say anything, and then Sergeant’s people come and start to wheel the kids away one by one.

  4

  Why? Why did she do that?

  Helen Justineau has no good answer, so she just keeps on asking herself the question. Stands forlorn in her room in the luxuriously appointed civilian block, a foot on every side bigger than a regular soldier’s room, and with an en suite chemical toilet. Leaning against the mirror on the wall, avoiding her own sick, accusing gaze.

  She scrubbed her hands until they were raw, but she can still feel that cold flesh. So cold, as though blood never ran in it. As though she was touching something that had just been dredged up from the bottom of the sea.

  Why did she do it? What happened in that laying on of hands?

  Nice cop is just a role she plays – observing and measuring the children’s emotional responses to her so she can write mealy-mouthed reports for Caroline Caldwell about their capacity for normal affect.

  Normal affect. That’s what Justineau is feeling now, presumably.

  It’s like she dug a pit trap, nice and deep, squared off the edges, wiped her hands. Then walked right into it.

  Except that it was test subject number one, really, who dug the pit. Melanie. It was her desperate, obvious, hero-worshipping crush that tripped Justineau up, or at least threw her far enough off balance that tripping became inevitable. Those big, trusting eyes, in that bone-white face. Death and the maiden, all wrapped up in one tiny package.

  She didn’t turn the compassion off in time. She didn’t remind herself, the way she does at the start of every day, that when the programme wraps up, Beacon will airlift her out of here the same way they airlifted her in. Quick and easy, taking all her things with her, leaving no footprint. This isn’t life. It’s something that’s playing out in its own self-contained subroutine. She can walk out as clean as when she came in, if she just doesn’t let anything touch her.

  That horse, however, may already have bolted.

  5

  Every once in a while in the block, there’s a day that doesn’t start right. A day when all the repeating patterns that Melanie uses as measuring sticks for her life fail to occur, one after another, and she feels like she’s bobbing around helplessly in the air – a Melanie-shaped balloon. The week after Miss Justineau told the class that their mothers were dead, there’s a day like that.

  It’s a Friday, but when Sergeant and his people arrive they don’t bring a teacher with them and they don’t open the cell doors. Melanie already knows what’s going to happen next, but she still feels a prickle of unease when she hears the clacking of Dr Caldwell’s high-heeled shoes on the concrete floor. And then a moment or two later she hears the sound of Dr Caldwell’s pen, which Dr Caldwell will sometimes keep clicking on and off and on and off even when she doesn’t want to write anything.

  Melanie doesn’t get up off the bed. She just sits there and waits. She doesn’t like Dr Caldwell very much. That’s partly because the rhythms of the day get disrupted whenever Dr Caldwell shows up, but it’s mostly because she doesn’t know what Dr Caldwell is for. The teachers teach, and Sergeant’s people take the kids back and forth between the classroom and the cells, and feed them and shower them on Sundays. Dr Caldwell just appears, at unforeseeable times (Melanie tried to work out once if there was a pattern, but she couldn’t find one), and everyone stops doing what they were doing, or what they’re meant to do, until she’s gone again.

  The clacking of the shoes and the clicking of the pen get louder and louder and then stop.

  “Good morning, Doctor,” Sergeant says, out in the corridor. “To what do we owe the pleasure?”

  “Sergeant,” Dr Caldwell answers. Her voice is almost as soft and warm as Miss Justineau’s, which makes Melanie feel a little bit guilty about not liking her. She’s probably really nice if you get to know her. “I’m starting a new test series, and I need one of each.”

  “One of each?” Sergeant repeats. “You mean, a boy and a girl?”

  “A what and a what?” Dr Caldwell laughs musically. “No, I don’t mean that at all. The gender is completely irrelevant. We’ve established that much. I meant high and low end of the bell curve.”

  “Well, you just tell me which ones you want. I’ll pack them up and bring them over.”

  There’s a rustling of papers. “Sixteen should do fine for the lower end,” Dr Caldwell says. Her heel taps on the floor of the corridor a few times, but she’s not walking because the sound doesn’t get louder or softer. Her pen clicks.

  “You want this one?” Sergeant asks. His voice sounds really close.

  Melanie looks up. Dr Caldwell is looking in through the grille in her cell door. Her eyes meet Melanie’s, for a long time, and neither of them blinks.

  “Our little genius?” Dr Caldwell says. “Wash your mouth out, Sergeant. I’m not going to waste number one on a simple stratum comp. When I come for Melanie, there’ll be angels and trumpets.”

  Sergeant mutters something Melanie can’t hear, and Dr Caldwell laughs. “Well, I’m sure you can supply some trumpets at least.” She turns away, and the click-clack-click of her heels recedes along the corridor.

  “Two little ducks,” she calls. “Twenty-two.”

  Melanie doesn’t know the cell numbers for all the kids, but she remembers most of them from when a teacher has called someone in the class by their number instead of their name. Marcia is number sixteen and Liam is number twenty-two. She wonders what Dr Caldwell wants them for, and what she’ll say to them.

  She goes to the grille and watches Sergeant’s people go into cell 16 and cell 22. They wheel Liam and Marcia out, and down the corridor – not towards the classroom, but the other way, towards the big steel door.

  Melanie watches them as far as she can, but they go further than that. She thinks they have to have gone through the door, because what else is down at that end of the corridor? They’re seeing with their own eyes what’s outside the door!

  Melanie hopes it’s a Miss Justineau day, because Miss Justineau lets the kids talk to each other about stuff that’s not in the lesson, so when Liam and Marcia come back she’ll be able to ask them what Dr Caldwell talked to them about, and what they did, and what’s on the far side of the door.

  Of course, she hopes it will be a Miss Justineau day for a lot of other reasons too.

  And it turns out it is. The children make up songs for Miss Justineau to play on her flute, with complicated rules for how long the words are and how they rhyme. They have great fun, but the day goes on and Liam and Marcia don’t come back. So Melanie can’t ask, and she goes back to her cell that night with her curiosity, if anything, burning even brighter.

  Then it’s the weekend, with no lessons and no talking. All through Saturday Melanie listens, but the steel door doesn’t open and nobody comes or goes.

  Liam and Marcia aren’t in the shower on Sunday.

  And Monday is Miss Mailer, and Tuesday is Mr Whitaker, and somehow after that Melanie feels afraid to ask because the possibility has opened up in her mind, like a crack in a wall, that Liam and Marcia might not come back at all, the same way Ronnie didn’t come back after she shouted and screamed that time. And maybe asking the question will change what happens. Maybe if they all pretend not to notice, Liam and Marcia will be wheeled in one day and it will be like they never went away. But if anyone asks, “Where did they go to?” then they’ll really be gone and she’ll never see them again.

  6

  “Okay,” Miss Justineau says. “Does anyone know what today is?”

  It’s Tuesday, obviously
, and more important than that, it’s a Miss Justineau day, but everyone tries to guess what else it might be. “Your birthday?” “The king’s birthday?” “The day when something important happened, years ago?” “A day with a palindromic date?” “A day when someone new is coming?”

  They’re all excited, because they know it’s got something to do with the big canvas bag that Miss Justineau brought in with her, and they can see that she’s just as excited to show them what’s inside. It’s going to be a good day – one of the best days, probably.

  But it’s Siobhan, in the end, who gets it. “It’s the first day of spring!” she shouts from behind Melanie.

  “Good for you, Siobhan,” Miss Justineau says. “Absolutely right. It’s the twenty-first of March and, for the part of the world where we live, that’s … what? What’s the big deal about the twenty-first?”

  “The first day of spring,” Tom repeats, but Melanie, who’s kicking herself for not seeing this sooner, knows that Miss Justineau is looking for more than that. “It’s the vernal equinox!” she says quickly before anyone else can.

  “Exactly,” Miss Justineau agrees. “Give the lady a big hand. It’s the vernal equinox. Now, what does that mean?”

  The kids all clamour to answer. Usually nobody bothers to tell them what date it is, and of course they never get to see the sky, but they’re familiar with the theory. Ever since the solstice, way back in December, the nights have been getting shorter and the days have been getting longer (not that the kids ever see night and day, because the rooms in the block don’t have any windows). Today is the day when the two finally balance. The night and the day are both exactly twelve hours long.

  “And that makes it kind of a magical day,” Miss Justineau says. “In olden times, it meant the long dark of winter was finally over, and things would start growing again and the world would be renewed. The solstice was the promise – that the days wouldn’t just keep on getting shorter until they disappeared altogether. The equinox was the day when the promise was fulfilled.”