Dead And Buried

‘Access to the cellars,’ said Cooper.

‘I knew that.’

The furniture in the bar looked sad and rather seedy in the totally artificial illumination. From the ceiling hung horrible lights in fittings shaped like candles, but made out of some kind of rigid green plastic. Cooper could see the pictures on the walls more clearly, baffling images of steam trains and fly fishermen that bore no relationship to the history or location of the pub.

Somewhere there must be a trapdoor to provide access to the cellar from inside the pub. Cooper found it behind the bar counter, concealed by a pile of flattened cardboard boxes and old beer crates. He didn’t think it had been hidden deliberately, just lost and forgotten under the general rubbish and disorder.

‘We need to move all this stuff aside.’

Villiers helped him with the task. When the hatch was cleared, an iron handle became visible, set flush into the wood. Slowly Cooper eased the door up, and Villiers switched on her torch to locate a flight of stone steps. She recoiled at the aromas rising from the hatchway.

‘Phew,’ she said. ‘There’s nothing worse than the smell of stale beer.’

Cooper agreed. But there was more to the odour than that. A miasma rose around him, putting thoughts of ancient damp and mould into his mind. He felt as though he’d just opened Count Dracula’s tomb, releasing centuries of decay.

He pulled out his own torch. ‘Down we go, then.’

‘You first,’ said Villiers.

Cooper looked at her in surprise. ‘What? Spiders?’

‘Maybe,’ she said defensively.

At the bottom of the steps, Cooper found a light switch. He was amazed when it worked, and the cellar sprang into view. Unlike the shuttered pub above, the cellar had always looked like this, bathed in artificial light. They were below ground, so there were no windows. And the air immediately felt cooler, with that hint of dampness.

Beer lines snaked up towards the bar, and a bewildering assortment of equipment lay around, some of it on shelves or left on empty kegs, or stored in the corner of the cellar. He saw a wooden mallet, stainless-steel buckets, disposable paper towels, a scrubbing brush, a pressure hosepipe, filter funnels and papers, a dip stick, beer taps and a gas bottle spanner.

A tiny space off the cellar had been turned into an office. Well, more of a storage room really, with a few dusty filing cabinets lined up against the wall, a desk covered in box files, and a pile of old magazines — The Publican, Morning Advertiser.

On a shelf, Cooper found a stack of old sepia and black-and-white photographs in their frames, which must once have hung on the walls upstairs. He picked up a particularly old photo in a gilt frame, and wiped the dust off the glass. It was a group shot, taken some time around the start of the twentieth century, he guessed. A formally arranged bunch of people was pictured outside the front entrance of a pub. A large man with enormous whiskers posed importantly in the middle of the group, with men in leather aprons and women in white smocks spread out on either side and behind him, some of them standing, others sitting awkwardly on wooden chairs brought outside from the bar.

The pub was recognisably the Light House, its windows almost unchanged to the present day, the shape of its chimneys visible along the top of the print. But the lettering painted over the door didn’t say The Light House. The pub had gone by a different name a century ago. Cooper squinted a bit more closely, trying to make out the lettering. Surely it was …? Yes, he was sure. The pub had once been called the Burning Woman.

He put the photo down, and it slid off the pile with a scrape of glass. His automatic sense of disturbance at the name was probably a twenty-first-century response. No one would have thought anything of it back then. There were plenty of rural pubs whose names reflected gruesome episodes from history, or some lurid folk tale. The people of these parts seemed to have had particularly vivid and bloodthirsty imaginations.

He couldn’t see the swinging wooden sign because of the angle the photograph had been taken from, but he guessed there would be a suitably graphic image to accompany the name. Someone would know the legend of the burning woman. Stories like that survived by word of mouth long after the signs had been taken down and the names sanitised.

‘I can’t help feeling the moulds are sending their spores directly towards me, even as I speak,’ said Villiers.

‘How did they get deliveries?’ asked Cooper ‘Can you see?’

‘Over here.’

The double cellar doors to the outside were at the top of a narrow set of stone steps, with equally narrow ramps on either side. The hatches themselves were bolted on the inside. The bolts and hinges were old and starting to rust, reminding Cooper of the iron plate over the abandoned mine shaft.