Believing the Lie - Elizabeth George [218]
That done, he’d found his way to the business centre and there he stayed. On his way, with what remained of his money he bought a packet of jam mallows, a Kit Kat bar, an apple, and a nachos kit of chips and salsa and refried beans, and, squatting between a filthy white Ford Transit and a wheelie bin overloaded with soaking Styrofoam, he ate it all.
When the car park began to empty as people left the various businesses for the day, he ducked behind the wheelie bin and kept out of sight. He fixed his eyes upon the photo shop and just before the hour when it was to close, he went across to it and opened the door.
Toy4You was taking the cash drawer out of the till. His hands full, he didn’t have the chance to remove his name tag. Tim saw part of it, William Con—, before the man flicked away. He ducked into the back and when he returned, he was without the cash drawer and without the name tag. He was also without good humour.
He said, “I told you I’d text. What’re you doing here?”
Tim said, “It happens tonight.”
Toy4You said, “Get this straight: I’m not playing power games with some fourteen-year-old. I told you I’d let you know when I had it set up.”
“Set it up now. You said not alone this time and that means you know someone. Get him over here. We’re doing it now.” Tim pushed past the man. He saw Toy4You’s face darken. It didn’t matter to Tim if it came to blows. Blows were just fine. One way or another, things were going to be concluded.
He went into the back room. He’d been here before, so nothing about it surprised Tim. It wasn’t a large space, but it was divided into two distinct sections. The first was for digital printing, supplies, and articles relating to the photographic business. The second, at the far end of the room, was a studio in which subjects posed for their pictures in front of various backgrounds.
At the moment, the studio took the form of a photographic parlour from another century, the sort of place where people used to pose stiffly, sitting or standing or both. It contained a chaise longue, two plinths upon which sat artificial ferns, several overstuffed chairs, thick faux curtains drawn back with fancy tasselled cords, and a backdrop. The backdrop made it look as if anyone posing had dragged their furniture outside to the top of a cliff: It comprised a painted landmass ending in a deep sky filled with cumulus clouds.
Tim had learned that this setup was all about contrast. And contrast, he’d also learned, was all about two things being in direct opposition to each other. When this had been explained to him on his first visit, he’d thought immediately of the contrast between what he’d once counted upon as his life— a mum, a dad, a sister, and a house in Grange-over-Sands— and what his life had been reduced to, which was nothing. Entering the space now, he thought about the contrast between how Kaveh Mehran had lived with his dad at Bryan Beck farm and how Kaveh Mehran intended to live in what was going to go for the next phase of his miserable excuse for a life. When this thought came upon him, Tim forced himself to think instead of the real contrast that lay ahead, which was the contrast between the mock innocence of this setting for photos and what the photos themselves consisted of.
Toy4You had explained all this to him the first time he had posed for the pictures as he had been instructed to pose. Certain kinds of people, he’d been told, liked to look at or purchase photos of nude young boys. They liked the boys posing in certain ways. They liked to see certain body parts. Sometimes it was just the suggestion of a body part,