[Image: The Beginning
(gouache on paper, 15×21 cm, 2010), by Kathryn Brimblecombe-Fox]
(Have you already read the Introduction? If not, please jog on over there now.
This will still be here waiting for you.)
A man and a woman stood just outside the door on his little porch. They were dressed appropriately for this day, the man in a dark, heavy overcoat of some ersatz woolen material (the few sheep left in the world could not legally be sheared), the woman in a somewhat lighter-weight khaki-esque coat but with a coarse scarf wrapped around her neck and tucked in at the collarbone. They did not look like government or law-enforcement officials (although one could never trust appearances these days); they looked like academics. Or diplomats.
The woman spoke first.
“Good morning,” she said. “Are you Gabriel Naude?” She pronounced it no-DAY, as though it had an accent mark over the e.
“Nobody in my family’s pronounced it like that for generations. It’s just one syllable, like gnawed.” Gabe’s lips drew back and he made little nibbling motions with his teeth, practically a reflexive response anymore. “But yes, that’s me. And you…?”
The man said, “My name is Eldon Lane.” He held out his leather-gloved right hand.
Gabe couldn’t remember the last time someone offered to shake hands, with him or with anyone else, but he took this Lane up on it. He looked at the woman as he did so.
“Adrienne Lane,” she said, smiling, and now extending her own right hand. “Eldon’s my husband.”
A gust of icy wind blew across the front of Gabe’s house, lifting and rearranging the hair on Eldon’s and Adrienne’s and Gabe’s own head. He looked at the strangers quickly, assessing their threat level if any, or if none, then their potential simply to annoy him for too long.
“I’m kind of in the middle of something right now,” he said, “but I can spare a couple minutes to find out what’s up. Come on in, let’s not stand out there.”
He stepped back from the door but did not let them past, positioning himself between them and the interior of the house.
Eldon held the door open to allow Adrienne to enter first, then followed and closed the door behind him. He removed his gloves and pushed his graying black hair roughly back into place; his wife, keeping her gloves on for now, simply squeezed her eyes shut and shook her head briefly, her shaggy hair settling into something resembling order.
Her casual gesture charmed Gabe. He was still waiting, however, for Eldon likewise to reassure him. He looked carefully from Adrienne to Eldon and then back again, trying not to select an interlocutor but letting them choose.
“Okay. Now that we’re all out of the cold—”
Eldon: “I know. What do we want, right? We — well…”
Adrienne laughed. “We’re a little nervous. We’ve never done anything like this before. We hope we won’t have to do it again. We’ve thought about it, talked about it, but still don’t know how to introduce ourselves or explain what we’re here for. We, well, we don’t get out much. Meet people, you know?”
“I don’t get out much myself,” Gabe said. He thought of the fixing agent down in the darkroom. He should’ve at least put the lid on it. “Is this a sales call of some kind?”
The couple looked at each other out of the corners of their eyes, and Gabe realized they really didn’t have any idea how to proceed. Eldon again tried first. “It’s not a sales call, no. At least not in the sense you’re probably thinking of it. We’re not here to offer you a product and we’re not here to take any money from you.”
“Or your soul,” Adrienne added. “We’re not selling religion either. We’re just after—”
“You,” Eldon interrupted.
Adrienne nodded vigorously, and a lock of hair fell down over her right eyebrow. “Yes. You. The world’s ending—”
“—and we want you to help.”
—-
In retrospect, for the rest of his life in fact, Gabe would remember that moment and laugh. The two of them looked so helpless, so silly, and something about their confusion came across as the confusion of an old silent-film comedian, beset by circumstances far beyond his control. They looked almost, well, pratfallen. But his laughter wasn’t just laughter at their joint discomfort and misfortune; it was empathetic laughter: he had no idea how he’d have begun the conversation, either.The world’s ending. We want you to help.
Which of those two assertions seemed less likely true could, in Gabe’s eyes, pretty much be decided with a coin toss.
Everyone knew something was wrong with the world, had been wrong for decades and maybe centuries. The climate, mass culture, the pace of life, savagery of warfare, persistence of ancient fears and hatreds, extinction of species: none of that spoke to the world’s health. But all of that stuck out so starkly, Gabe had always believed, exactly because it was not the norm. The background — the context in which all that other stuff was going wrong — was a background of things going right. That’s what made the things-going-wrong literally news. So the end of the world? Sure, it would happen sometime, eventually. The sun would swell to red giant, whatever. Billions of years from now. Average likelihood of such a thing’s happening, for anyone in the world for the foreseeable future? Especially happening as a surprise? (Boy, of all bad news, that’d be the worst. Tabloid field day.) The odds approximated zero.
As for Gabe’s ability to help: if the world’s ending, you want a hero. Someone of superhuman strength, superhuman intelligence, superhuman ability to get people working together. But Gabe? He was a photographer, for chrissake. Not even a particularly successful one. Aficionado of old methods of image-making, even: black and white, analog film; darkroom processing; gallery printing and framing on archival, acid-free surfaces. He could strive heroically for perfect composition and contrast. When he wanted a really good cheeseburger, he could strive heroically to make his way across town for it. If you wanted someone to put up a mighty fight in the battle against falling asleep in the theater, Gabe might just be your man. But stave off the end of the world?
So, well, yeah: when the Lanes offered their twin reasons for standing in his foyer, Gabe burst out laughing. They were harmless nutcases. That explained everything.
It explained everything except their response to his laughter. They burst out laughing, too.
“I know!” Adrienne managed to say, once she’d gotten her breath back. Eldon had staggered back and to his right in order to lean up against the wall, doubled over slightly, and still couldn’t speak.
“I know,” Adrienne repeated, “and it is such a relief you think it sounds ridiculous, too. At least as ridiculous as we felt saying it.”
“A relief? So this—”
“No. I mean yes. This is for real. The relief—”
“The relief is real, too,” Eldon said. He’d finally recovered from the laughing fit, but was still snorting with mirth around his words. “You couldn’t possibly have done anything better, could he, Ade?”
“No. It’s a good sign. Because if you go along with us, if there’s one thing you’re going to need in the next few months, it’s a sense of humor.”
__________________________
I don’t know exactly what I’m doing here. The storyline, I get that okay. I know where that’s going. But I have no idea what I’m doing by posting these first-draft chapters here at RAMH. Whatever it is, it’s probably gonna come back to haunt me. :)
s.o.m.e. one's brudder says
Sometimes “doing the right thing” is best when it’s purpose is not defined. Write on, dear brother. Methinks I feel a screenplay coming on….
John says
A lot of my thinking about the project has solidified since I posted that. This could turn out to be very cool or, um, not.
I’ll never write a screenplay, of this or anything else. I’m willing to listen to anyone who wants to option it, though, ha. (Maybe DJ Steve can broker a deal, what with the Hollywood connections to his old teacher and such.)
s.o.m.e. one's brudder says
I’m curious about the “no screenplay” perspective given both your film affection and what I perceive as a clear sense of the visual in what you do write. What makes that something you will never do?
John says
No mystery, really: screenwriting’s rules are very different from (prose) fiction-writing rules. Formatting very different, of course, but screenwriting is also almost 100% dialogue-writing. The screenwriter can suggest visual features — light and shadow, weather, and so on — and cast instructions (“(gasps)“), but by and large the director has control over the material and you’re wasting your time with any novelistic little filligrees.
Aside from which, you know how I go on, at least in print. All that description would never find its way into a two-hour film. :)
Jayne says
I had to hit the tags, which, for the most part, are also new, yet tell us that you’re moving forward, somewhere, with this. In the year that is foretold to be the last, it’s comforting that we have plans, still write, write first-draft chapters, at that!
I’m wondering if TPL is inspired at all by KB-Fs artwork… or if her work just seems to fit? ;)
Either way, I’m enjoying this, John. And nodding in agreement w/Brudder.
John says
Okay, you got your brownie points in there at the end of paragraph 2. Nice work. The link between the story and the art, to the extent there is a link, is in fact in the “seems to fit” direction. When I was casting about for an illustration for the Intro, I found her art to fit very, very nicely — even as a cover for an imagined complete book. And I could see how different pieces of hers might work for pretty much the entire story line as I saw it.
That said, I feel guilty cribbing her stuff. So I probably will keep looking for other sources after this post!
(Maybe I should take a cue from some of what you’ve been doing with your phone camera.)
whaddayamean says
I was waiting for what was going to come next after that teaser a couple weeks ago! You are being enigmatic. So many questions! Nevertheless. I enjoy what I’ve read so far!
John says
Thank you! Still feeling my way through, sorta… hoping (prematurely) to post each installment on the day it’s written. But I have a better idea why I’m posting them at all. :)
cynth says
Oops, I went and read Kali and came back and read this…I kind of liked it that way though. Keep going, John, it’s good, whatever you call it. And don’t dismiss the screenplay idea, I’ve always thought you can do a lot with the pictures you paint with the words.
John says
No nononono — the objection to doing a screenplay is almost entirely format-related (all that hard-to-type dialogue!), and the rest is, well, dialogue-related. (All that dialogue! I can’t write dialogue!)
The Querulous Squirrel says
This is emotionally and interactionally surreal and comic, with a voice akin to Douglas Adams’ A Hitchhiker’s Guide to the Galaxy, considered of Biblical proportion in this house. I love it. A courageous and inspiring project.
John says
I couldn’t begin to find anything of Adams’s voice in my own. I mean, he’s up there in my head — but boy, what a unique talent. Thanks so much for the compliments.