working at all. I bet you were in the pub playing darts, or having mud and seaweed rubbed into your back as part of a spa day, cheating the company, you lazy bastard. And, look, Iâm telling on you. Iâm telling the even bigger boss.â
The inclusion of âcc Gillian Bateâ was the proof. If Nora trusted him, was genuinely concerned for his wellbeing and had no doubt heâd spent last Thursday working, she wouldnât have felt the need to send a copy of the letter to Gillian. Nor would she have done something so formal as send a letter; sheâd simply have emailed him. What did âccâ mean, anyway? Complete cunt, thought Tom. The company email template offered one the option of âbccâ as well. Both complete cunts: Nora and Gillian.
The phone on his desk rang. He picked it up, said âTom Foyers,â hoping, as he always did, that Jonathan Ross would be on the other end. Jonathan would be phoning from Barry Normanâs house. âLook, Tom, if I donât have a few months off Iâm going to go crazy. Barry and I have been having a chat, and weâve decided youâd be ideal to present Film 2005 . Youwouldnât, by any chance, fancy it, would you? All you need is a reassuring smile and a stylish yet comfortable jumper to wear.â
It was not Jonathan Ross. It was Selena, Tomâs wife. Still, he was reasonably happy to hear from her. Selena was the only person with whom Tom shared some (though by no means all) of his real thoughts. He didnât quite know how this had come about, but he knew that Selena had arranged it. She had constructed a supervised area in which Tom could safely say anything. So could their two children, Joseph and Lucy. Lucy, who was two, had taken to saying, âFor fuckâs sake!â every time she encountered a practical difficulty. She said it when she couldnât slot the Piglet piece into her Winnie the Pooh jigsaw, and when her Baby Annabel doll rolled off the changing mat. Sheâd learned the phrase from Selena, who laughed every time Lucy parroted it. âThatâll give the girls at nursery a shock,â she said. Joseph, who was four, screamed, âI hate you, Mummy! I hate you, Daddy!â every time he was told that he couldnât have chocolate mousse for dinner and then again for pudding.
âHow are you?â Tom asked his wife.
âExtremely pissed off,â said Selena. âFurious, in fact. Can you come and meet me, now?â
âNot really.â What Tom meant was, âNot at all.â Selenaâs current job was to sell eighteen townhouses for Beddford Homes. She worked alone in the sales office, which was the double garage of the show home. This was at least ten times the size of Tomâs office, and her bosses, Andrew Beddington and Brian Ford, had installed a fully equipped little kitchen for her at the back. Theyâd also judged Selena worthy of a carpet, three armchairs, a fan to cool the stifling summer air, and a television. She had already sold four of the houses for them, and they liked and trusted her. They knew she could and would sell the lot. Selena was an extremely persuasive woman. Andrew and Brian didnât even mind that on quiet days she closed the office and went shopping or to get a manicure.
Selena sometimes had trouble understanding the constraints of Tomâs working life. âWhy not?â she said crossly.
âBecause itâs not up to me when I come and go from the office,â said Tom, running amok in this rare opportunity for honesty like a toddler in a Wacky Warehouse ball pit. âItâs up to a fat, snide, glorified tealady called Nora Connaughton.â Last Thursday, Tom had worked at home from seven in the morning until eight in the evening. He had asked Ruth, one of the secretaries, to send the Burns Gimblett files to his house because he hadnât wanted to lose an hour and a half of work time. âWhy, has