Offcuts (2)

Continuing the theme (in Offcuts) of passages that never made the final book, I’ve been working on When the Darkness Comes for a long time now and I really don’t know when I’ll be ready to let it go to print, but this has been in it from the start and beta reader after beta reader has asked me the same questions. Why is this here? What does it add to the story? Where does it get us? And they’re right; this is a perfect example of what editors mean when they tell writers to “kill your darlings”. So — and not without regret — it’s gone. Cut. Rejected. I don’t want it to disappear altogether, though — so here it is:

They’re getting into an elevator. Ted and the dwarf and King Tut. The Lizard stands back, watching them go. But something’s wrong. The building they’re supposed to be going up is next door. This lift is on the front of a tower that stands beside the building. It’s a high tower and a high building, but they’re not connected. How are they going to get across at the top?
There’s worse. The lift is one of those that run up the outside, with glass walls so you can see the people and the traffic grow smaller as you ascend, and the landscape grow wider. Ted hates these. He was in one and when it reached the top he was on his knees, facing inwards, eyes closed. Sobbing. They’d seen it before, apparently. They brought him out in a service lift inside the building. Kept telling him not to feel embarrassed, that it took some people that way. He did, though. Feel embarrassed.
He’s not good at heights.
He doesn’t like crowds, either, and there is a crowd now and it’s pushing forward.
What terrifies Ted, leaving the elevator to one side, what really leaves him wanting to lie on the floor again and scream, is: what happens at the top? If the tower isn’t connected to the building, how will he get from one to the other? And will he have to look down? And will he be able to stop himself?
He won’t make it. He knows that, so he doesn’t want to try. He’s struggling not to get into the elevator, but the crowd is enormous and it’s pushing and bustling and carrying him in there whether he wants to or not. The dwarf has him by the wrist and Tut is bobbing around a few rows back, taking care to keep him in sight.
How can all these people fit into one lift? And who are they? And why is Ted going where they’re going? He doesn’t know them. Doesn’t think he knows them.
And now the lift is climbing, shooting up the outside of the tower at increasing speed. The car is full of people eating and drinking, sitting at nicely linened tables, crisp starched napery, silver bowls, cut glass. Eating and drinking. Attentive waiting staff. Red wine, fizzy water, rare beef. There’s a cigar somewhere. Buzz of conversation. And Ted. He should be at ease in this environment. Man of the world, in his element in pampered luxe. Instead he’s screaming bloody blue murder. And no-one’s looking at him.
How is he going to get across?
Oh, help him, Mother.

They’re there. At the top of the tower. The crowd has strolled out and across, into the building next door. How? How did they cross? How the hell should Ted know? He couldn’t watch. They’re gone. What’s left is people he was at school with, in the Scouts with, played cricket with. How, why, he doesn’t know. And there, in the corner, trying to be invisible but never taking his eyes off Ted, is King Tut. Knowing that he’s really Ras Tafar, Haile Selassie, Emperor of Ethiopia should reduce the fear of seeing him, but it doesn’t. If anything, it makes it worse. The dwarf stands in the corner by the buttons.
The others are crossing now, all but the dwarf and Tut, who seems to be trying to creep a little closer to Ted, and Ted can’t go with them. They’re calling him, encouraging him, cajoling. ‘Come on, Ted. It’s fine, it’s nothing. Just step over.’
But it isn’t fine and it isn’t nothing. It’s a drop of hundreds of stories, thousands of feet, higher than the London Stock Exchange or the Gherkin, higher than the Empire State, higher than the Twin Towers of the World Trade Building.
And look what happened to them.
‘Come on, Ted.’ And he can’t. Because he knows they’re wrong. They’ve crossed over and for them maybe it really was easy but Ted can’t do it. He can’t. He’s going to have to stay here. He lies on the floor. ‘I’ll stay in here. I’ll go back down.’
‘Come on, Ted.’
‘You can’t go down, Ted. The lift won’t start till you get out.’
‘For God’s sake, Ted, be a man.’And he’s sobbing as though his little heart will break. Help me, Mother. Help me. Don’t leave me stranded here.

And something strange has happened. Because before there was just the tower and the building and nothing between except blue sky and puffy white clouds. And now there’s a platform half way across. It’s got cloud all around it, so he can’t see where it goes, whether it’s standing on the ground or what, but it’s there and it looks solid enough.
It should help, there being a platform half way. But it doesn’t. It makes it all worse.
‘Stand up, Ted. Take a step onto the platform. Then hold out your hands and we’ll haul you across. Safe as houses. Come on, Ted.’
Stand up. The man’s an idiot. Always was, even as a child. He can’t stand up.
‘We’re going to have to go, Ted. We can’t wait for ever. We’re going, Ted.’
So go.
‘Ted! For fuck’s sake, get on your fucking feet and step onto that fucking platform.’

Ted’s the boy. Oh, Ted’s the kiddy, all right. The athlete, hotshot cricketer who can’t stand up for fear of falling. The master of a French whore, killer of villains and police alike who’s too terrified by what he might see to open his eyes.
Now get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that.
Ted is the fellow of infinite jest.
What does my gorge rims at it mean? He probably couldn’t write that line today. God, there’s some dirty bastards around. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar?
He hauls himself to his knees.
‘That’s it. That’s it, Ted. Now. Over!

He’s lying face down on the platform. If he’d thought he was scared before, he knew nothing. This is fear. This is cold terror.
He can’t go forward and he can’t go back. The lift has gone, taking the dwarf with it. Or maybe that should be the other way round. The outer door is still open, but all that’s there now is an open shaft, waiting for Ted to fall down it. There’s no-one here but him and Tut, who crossed with him and is now so close he’s almost touching Ted’s spread-out leg.
He daren’t look down. Look down? He daren’t even open his eyes. How are they going to get him out of this? How can they send a rescue crew here? There’s no ladder in the world long enough, he knows that, and he couldn’t go down it anyway. Helicopter? How would they pick him up? Clinging to a net over that drop? I don’t think so, pal.
He can’t go forward and he can’t go back and they can’t pick him off. There’s no way out. It’s just him and Tut and the tower and the clouds and the wind. He hadn’t noticed the wind. It isn’t much, but it’s there. Probably the sound of people drowned it out before. The people have gone.
He and Tut are alone.

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  1. Offcuts (3) | jlynchblogdotcom - March 27, 2015

    […] that I’m in the mood after Offcuts and Offcuts (2), here is another passage that was once part of When the Darkness Comes but is so no longer. I […]

  2. Offcuts (5) | jlynchblogdotcom - May 18, 2015

    […] is one of those passages (see Offcuts and Offcuts (2) (3) and (4)) that didn’t make it into the finished, published book but that I think had […]

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