Love Over Scotland - Alexander Hanchett Smith [77]
He woke up sharply. The young man had tugged on his leash, and now tugged again, yanking Cyril’s neck backwards as he did so. Cyril rose to his feet and looked expectantly at the young man, who now began to make his way towards the front of the bus, pulling him as he went. The bus slowed, and then stopped. The doors opened and there was a sudden rush of new smells as fresh air flooded in.
Cyril followed his captor outside, standing just behind him as the bus pulled away in a swirl of fumes: diesel, burnt oil, dust. The dog closed his eyes and then felt the pressure on his collar as the young man pulled him away from the side of the road. There were human voices; the sudden smell of a cat off to his right; the acrid odour of sweat from a passer-by; so much for a dog to take into account, and now hunger, too, and thirst. He opened his eyes and saw off to one side a building rising up against the sky. It made him dizzy to look at it. There were gulls wheeling in the air, white wings against the grey of the sky, tiny black eyes trained on him, a mewing sound.
He lunged away, pulling sharply on his leash. The young man cried out, a hostile yell which frightened him further, and, feeling the sudden freedom of the slipped collar, Cyril bolted. All he knew was that his collar was no longer around his neck, that he was free, and that he could run. There was a further shout, and a stone, hurled in blind anger, shot past him. Cyril had no idea where he was going; all he wanted to do was to escape from the young man who had taken him away and put him in the bus. The young man was danger, was death, he thought, although Cyril had no idea what death was. All that Casting Issues 161
he knew was that there was pain and something greater than pain – great cold and hunger, perhaps – which was death. Now, his heart thumping within him, the stones on the path cutting hard on his paws, he sought only to put as much distance as he could between himself and that death that was behind him, shouting. And it was easy to do so, because that death was slow and could not run as a dog could run.
Somewhere ahead of him – he could smell it – was water. His nose led him and soon it was before him, a thin body of water that snaked off to left and right, and beside it a path. He hesitated briefly and raised his nose into the air. Off to the right there was a confusion of smells, of other animals, of emptiness. And to the left there was a similar confusion, but somewhere, deep in the palette of odours, something familiar. He had no name for it, of course, no association – just familiarity. Sun-dried tomatoes. Somewhere in that direction there were sun-dried tomatoes. Cyril chose the familiar. Aware now that there was nobody chasing him, he set off at a comfortable trot along the canal tow-path. There were many indications of the presence of other dogs, a tantalising array of territorial claims, of warnings left behind on bushes and trees, but he ignored these. He was going home, he thought, although he had no idea of where home might be, other than in this general direction. The hunger pains in his stomach were still present, but Cyril ignored these too. He felt calmer now, quite as calm as he would feel if he were going for a walk with Angus by his side. Angus. Cyril loved Angus with all his heart, and this sudden remembering of Angus, this knowledge that Angus was not with him, made the world as dark and cold as if the sun had dropped out of the sky. 52. Casting Issues
Bertie had told nobody at school about his unwelcome recruit ment to the Edinburgh Teenage Orchestra. He had entertained hopes that the proposed orchestral tour to Paris would be 162 Casting Issues
cancelled; that war might break out between Britain and France, thereby curtailing all cultural exchange. But none of this happened. He scoured the columns of the