Saturday 23 November 2013

THE SCREWDRIVER SET

Today is the Fiftieth Anniversary of Doctor Who, so here is a short story...

There are a lot of characters who come into my shop.  That’s the nature of the trade.
Antiques collectors are always a bit out of synch with the world.  You can spot us a mile off.  We in turn see you lot coming through our ancient eyeholes.  Some elegant young thing will waltz in here, looking to accessorize.  I’ll show her a nice cigarette holder from the Twenties or a crocodile skin handbag that went unclaimed from a doctor’s surgery in the Forties.  She won’t know what I’m talking about and she’ll look at me the way she’ll look at that            scuffed Georgian tea chest I have in the corner.  “This is nineteen seventy-nine,” one of them said to me once, as if that was supposed to mean something.  “It’ll be nineteen seventy-eight soon,”             I replied, something of an obscure antique dealers’ joke which went straight over her head of course.  I pride myself that I can always tell exactly who you are and what you’ll say as soon as you make my bell tinkle, but there was one time I was completely wrong.  It was a situation I’ll never fully understand and it began on a hot afternoon thirty years ago.


The confusion in question pulled up in an Edwardian motor vehicle.  Not the first time I’d seen one arrive through that window but this was the first time I’d heard one screech to a halt.  Awful colour it was too, yellow like a banana, and the gentleman driver, back when I thought he was a gentleman, had on a velveteen jacket the colour of sprouts.  Nearly took the bell off its bracket as he strode in, big silvery crash helmet of hair.  And tall he was,           all indignant with hawk nose and flinty features.  "Drama queen!" thought I, as he walked right up to me, his beak in mine.  Wore knee length boots, like a stormtrooper.  That unsettled me a bit, as I had him down as one of my own and had no reason to think otherwise as he commenced his rant.
“I want my screwdriver,” was how it began.  It was a peculiar opening line, but I knew what he was after straight off.  He had the something-for-nothing carp of a dealer at large.  I explained calmly that Nigel Block’s tool shop was right across the street if he cared to pop in.
He snorted, repeated the line, said something about how I didn’t have the right, in my own shop mind, before striding over to the window and pointing between the tea set and the Gracie Fields 33.
“Oh you mean the tin opener,” I said.  I had no idea what it was because I’d been given several conflicting opinions.  My mate Harry Watts had found it during a house clearance in Bounds Green.  It was wedged in the back crevice of a settee and he only found it because he thought he’d dropped his fag in there.  Curious thing it was, long and metallic, with a pointed section at the end, a bit like a mounted bullet.  It had the strange look of something that was both ornate and timeless.  I’d taken it to several people I trusted and even one I didn’t trust, Malcolm Broom of Broom & Sons.  He thought it was a late Victorian tin opener, which was the stupidest explanation I’d ever heard.  Naturally in lieu of a decent story it was the one I went for.
“Tin opener, steaming great balderdash,” said the jackbooted visitor.  Then he made a grab for the implement in question, a manoeuvre I was all too familiar with from day to day dealings.
If you can stop a six year old nabbing a stuffed badger you can stop anything.  I immediately picked up the ivory back scratcher said to belong to the eighth Tsar of Russia and scraped the back of his hand.  He yelped, shaking his appendage and stomping from foot to foot.  Right little sissy he was, I’d never seen a reaction like it.
“My good man,” he blustered, clearly wrestling with the massive, tiger-shaped slab of egomania inside him.  “This is my screwdriver and I demand you return it to me forthwith.”
“Building a bungalow are you?”  I took a step forward with the scratcher aloft and he gave me a baleful look.  “Now listen chum, I get all sorts in here poncing about looking for something on the never never, and I want you to know, I clocked your number right off.  Who sent you, was it Broom?”
“Broom?  What are you talking about, Broom?” he splutters.
“Nice try you velveteen prat,” says I.  “If you think I simply hand out stock to whatever berk chooses to shimmy through that door then you’ve been misinformed to a colossal degree.” 
With that I started urging him towards the door, the small but nimble ivory hand brandished at him like the fingers of the Devil himself.  As his spine hit the glass I says: “Now get in your canary mobile and whistle!”, before slamming the door.  My heart filled with pride.  What a brilliant afternoon!  If only more of my ilk had that kind of attitude.  I felt as if I’d locked muskets with a true combatant!  Of course I knew this fella with the green coat would be back, and sure enough that night I heard a creaking on the floorboards that could only have been created by a transgressor – either that or the mice were putting on a few pounds.  You should have seen his face as I switched on the Edwardian table lamp and levelled my blunderbuss at him.  Eyeballs about to pop out of his head.  Who did he think he was, Raffles?  Frozen in that ridiculous cat burglar stance.  He looked like a giraffe with a bee up its rear.
“Is that loaded?” he asked quietly.
“I think it was last used on an elephant,” I replied, enjoying the moment.  I mean this bloke with the beak, he was a real dose of fresh air.  It’s not every day a dealer goes to these lengths to secure an item you know!  “Now why don’t you take a seat there,” I added.  “You can tell me all about why you’re risking your neck trying to get your hands on my tin opener.”
“My dear chap it is far from a tin opener.”  My fellow gladiator perched himself on the edge of a chest which I was claiming George Formby once used to ship his ukeleles to Canada.
“Well why don’t you tell me what you think it is then.”  I was highly intrigued by this point, resting the blunderbuss on the desk, but with the business end pointing at him so he knew the game was still on.
“I simply don’t have the time to explain what it is.”  And with that he reached into his pocket.  I went for the gun, but it turned out he was going for a thick bundle of pound notes which he began counting out on his thigh.  Funny the way he was squinting at them.  The way he looked he was either short sighted or he didn’t have a clue what they were worth.
“That’s a ten bob note Captain Rum,” I said to what he initially offered.  Then he holds out a wad of around fifty quid.  “I think you’ll find that’s a very generous offer,” he says, casual as you like.
I had to say I was very disappointed.  “Is that it?” I says.
“You want more?”  says he, his eyebrows elevating themselves to an abnormal height.
“No, I mean is that it for us then?  Is that all you’ve got in you after all this trouble?  Don’t you want to put up more of a fight?”
With that the man stood.  This was more like it.  I thought he might have an Arabian sword or something tucked in his britches, that he’d take out and swish around a bit.  That would have been exciting.  But nothing so exotic.  No, he was just holding all the money out like any other sad shopper.  Proffering a soggy offer with limp notes.  “I think you’ll find there’s two hundred pounds in that bundle.  More than adequate,” he says. 
“You don’t understand how this works do you sport?”  I picked up the buss and pointed it at him.  “You up your game from fifty to two hundred in a blink and you think I’m just gonna bite your hand off?  I have to say I’m very disappointed.”  So with that I directed
him to the exit with the implied threat of having his nose blown off.  He made another lunge for the front window on his way out but there was no way he was getting his hands on that tin opener now.
He paused in the doorway.  The street light caught the whitening curls in his hair and then his eyes twinkled in the shadows, almost like there was a little switch he could flick to turn them on.
“If I tell you what that object really is, will you consider selling it back to me?” he says.
Well I couldn’t turn an invitation like that down.  Another bout of conjecture couldn’t hurt, and I could always stick the explanation next to the opener on a little card if it was a goodie.  “You’ve got two minutes,” I says.
What he came out with stays with me to this day.  I’d never seen a dealer like him and I’d never heard a bloke like him neither.  Turned out it wasn’t a tin opener (quelle surprise surprise) it was a screwdriver.  But not just any old screwdriver.  A screwdriver from another planet no less!  He offered to demonstrate it but I knew the longer I kept his mitts off the merchandise the more spiel I could get and consequently the higher the price.                                     He told me he’d mislaid it in the Fifties.  A gang of criminals were up to no good and this airy fairy drink of water was investigating them.  “Who are you then, the antiques police?” I asked.
“Yes in a way,” he replied.  Then without missing a beat he explained that the gang had stumbled upon the frozen bodies of a Neanderthal tribe near Kew Gardens.  They’d thawed them out and were training them as bank robbers and getaway drivers.                “Of course,” says I.  “I mean it all makes perfect sense when you put it like that.”  According to this extraordinary character telling tales in front of me he’d managed to track them down, but in the skirmish he’d mislaid his screwdriver.  Because that’s how you take on the might of the London underworld isn’t it?  Armed with a single screwdriver... and a foreign one to boot!       
What he said next capped it all off nicely – that he’d spent the last six weeks tracing his tool!  Quite how you’d arrive from the nineteen-fifties to this here parish of nineteen seventy-nine in eight weeks is anyone’s punt.  I’d heard enough and bid him goodnight with a stern twitch of the blunderbuss.

I had hoped he’d come back you know.  Things certainly seemed duller after he went.  Then one chilly afternoon a young lady entered the shop.  Slip of a thing she was, lovely as a Claris Clift vase.  Naturally I treated her with complete disdain.  I knew she was out of her element here, that she was after something of inestimable cultural value to pin to her Marks & Spencers’ lapel...
But she didn’t want that.  She’d been drawn to the tin opener of all things.  Asked me to take it out and show it to her.  The young lady in question, Jo her name was... well I’d never seen such interest in the trade from a pretty young thing like that.  Told me her uncle had owned a tin opener just like it.  Call me a sentimental old fool but I let her have it for two quid. 
It was only when I saw her cross the street and get into a battered-looking army jeep that I clocked  him.  Peering out from the back seat and waving before the military sped him away.  Wily old coot.  That truly was the last time I saw him.  Though I do think about him from time to time, with his twinkly optics and his funny stories.  In a strange sort of way he always seems to be there.  Him and his network of nefarious friends from the government.  The Screwdriver Set as I came to call them.  There was that loud fella in the colourful coat who sold me that weird sink plunger.  No use to man or beast in the end.  As I threw it in the skip I wondered if he
was in league with that hoodwinker in the long boots.  Then there was that shortarse Scotsman with the panama hat who flogged me the signed photo of Mrs Mallaprop that turned out to be a fake.  Was I being paranoid, or did his peepers possess a certain sparkle...?
On top of all that I don’t even own a tin opener!  I find the concept too galling.  Even after all this time I can’t access a can of soup.  I’m off to the shops now to buy one I think – time to put the past behind me.  I’ll break with tradition and get the cheapest, nastiest one possible.  It’s like the chap in the long scarf who sold me the shop said – “Antiques are all well and good, but at the end of the day the people who buy them are a load of old tat.”
     


 

Tuesday 27 August 2013

THE FINAL EPISODE OF THE AUDIO MAN IS NOW ONLINE!


As Roger revels in his new role, Marek throws a curveball that could derail everything, and a murder mystery in a lighthouse comes to a strangely urban conclusion...



Tuesday 20 August 2013

EPISODE FOUR OF THE AUDIO MAN IS NOW ONLINE!


Roger enters into correspondence with an action man, resulting in extreme inebriation & a mysterious disappearance...



Monday 12 August 2013

EPISODE THREE OF THE AUDIO MAN IS NOW ONLINE!


Marek's attempts to defend Roger create confusion, as the former star tries to claw his career back from the grave...


Wednesday 7 August 2013

MIKE BUTTER at the LICOP

A rare archive recording of daredevil parapsychologist Mike Butter has surfaced.  Here is part of his keynote speech at the Leicester International Conference of Parapsychology:

Friday 2 August 2013

EPISODE TWO OF THE AUDIO MAN IS NOW ONLINE!


Roger gets to grips with the mechanics of the blogosphere, leading to bloodshed, a burned appendage and a shocking revelation...







Tuesday 30 July 2013

PACIFIC RIM review


Guillermo del Toro delivers on spectacle but struggles to find content in this Japanese-inspired mash up.  An advert for a toy range yet to be invented, this displays the director's customary visual flair but lacks his usual talent for distinctive characters and casting.
Choosing its starting point midway through the larger narrative of the human-Kaiju war, we follow a group of hardy types whose job it is to pilot the Jaegers - massive robots designed to take on the Lovecraft-inspired Kaiju creatures in a pub fight-stylee.  When this unnecessarily elaborate line of defence is disbanded in favour of a series of giant walls, the last remnants of the Jaeger pilots are assembled by commander Idris Elba for one last assault on the monsters’ dimensional gateway beneath the sea.
The human element has a stoic, war movie feel, and is based around the idea of the Jaeger unit as a kind of family.  There are some emotional scenes but as with many movies of this kind these are a bit by the numbers.  The movie benefits from Charlie Day and Burn Gorman as a scientific double act.  Gorman’s performance is the most ludicrous I’ve seen in a while, but it gives proceedings a much-needed splash of colour.  When Day is despatched to the dazzling neon lights of Hong Kong the film adopts a garish, Godzilla-esque tone, which it could have done with more of.  Baker, a cross between Seth Green and Bobcat Goldthwait, plays well against Ron Perlman, whose alien entrails dealer is the film’s standout character.
Intended as an introduction to the Kaijus vs mecha genre, this is the sort of film Michael Bay could direct in his sleep .  While Del Toro brings certain aesthetic qualities to the table, he is fighting a losing battle and eventually has to yield to the lack of depth.  The fights quickly become repetitive and the Kaiju all look alike with their dingy hues and globulous shapes.  I attended a 3D screening and found the ocean-based face-offs too murky to register effectively, with the city-based conflicts working much better. 
A more interesting take could have been how the war began, but this is shoehorned into a short introduction which is clearly designed to cut straight to the action.  This may please fight fans, but leaves the end result rather insubstantial, with the actors and their journeys not strong enough to hold the film together for the duration.  Crucially as the Kaijus are frequently blown to smithereens you can’t help but think that maybe humanity would have been better off investing in bigger armaments as opposed to the cumbersome robot + psychic link system that was eventually devised. 
The end product is a rung above many blockbusters of its type, but overall I felt Pacific Rim's gain was ultimately The Hobbit's loss.    





Friday 26 July 2013

EPISODE ONE OF THE AUDIO MAN IS NOW ONLINE!


Former science-fiction star Roger Caning receives a surprise request from the mysterious Marek Bork.  One that will set in motion an increasingly strange chain of events that will alter the course of their lives forever...


Wednesday 10 July 2013

DOCTOR WHO reviews


Here are two reviews of Doctor Who, recently published in Strange Skins Magazine.

Both episodes were written by Neil Cross, creator of Luther, currently showing on BBC One.


THE RINGS OF AKHATEN

There is an unofficial tradition in Doctor Who of the thumbnail sketch.  The Seventh Doctor saw out the classic series describing “people made of smoke and cities made of song”.  Subsequent showrunners have continued the tradition (“Space Florida” being amongst numerous examples) and now debut Who writer Neil Cross has gone one better by creating a thumbnail-based story – Akhaten is in concept an established planetary system and in execution a series of broad strokes.  This results in an intriguing but insubstantial episode.  Cross is a strange choice to be performing script duties on a prime time family show – his main TV credit is the BBC’s Luther, with its Dexter-style blend of warped characters and twisted situations.  Can a crime author preoccupied with serial murder be a good fit for the Doctor, especially in this fiftieth anniversary season?  On this evidence I’d say yes – he has devised a rip-roaring composite of science-fantasy and horror hampered by obvious budgetary restrictions.  The Egyptian motif looks good and puts you in mind of Pyramids of Mars, but having been billed as an epic excursion to an alien world what we end up with are a cluster of small sets bookended by some impressive CGI spacescapes.  However Cross and the creature department have some fun with a Star Wars-inspired array of rubbery denizens, some of whom are so well-realized it’s a shame we’re only meeting them in passing.
The writer also has the added responsibility of delivering Clara Oswald’s first trip aboard the TARDIS.  Having been introduced no less than three times, this is the beginning of Jenna Louise Coleman's tenure as a fully-fledged crew member.  Thus far the character or the mystery surrounding her isn't doing what it should.  It could be that she is yet another girl-shaped mystery for the Doctor to solve, or that despite Coleman’s strong performance she is having to plug the creative crater left by the Ponds.
Overall the story is stronger on atmosphere than content.  The nature of the relationship between the Akhatens and their “god” is vague, with the connection between the sacrifice, the imprisoned monster and the evil planet unclear.  “Grandfather", the mummified boogeyman of Akhaten, is initially frightening, but once you realize his main role is trying not to bang too hard on a conservatory window he becomes an opportunity for viewer trauma sadly squandered.  In my book the best characters are the underused Vigil, who wind up as Hellboy-esque throwaway henchmen.
This is an unusual instalment in that there is very little in the way of supporting cast.  Of the unmasked performers Emilia Jones makes a suitably delicate Queen of Years.  The songs have become a major bone of contention but I have to say I didn’t mind them.  Granted they are more Andrew Lloyd Webber than ancient paean, but they certainly aren’t offensive to the ear.  Matt Smith is so consistently fully-formed that I find it pointless to scrutinize him, but he does struggle with the final confrontation.  It’s the first time I've seen him a bit adrift in his performance - arguably the Doctor is supposed to be groping for answers, but this sequence would have benefitted from a bit more rehearsal perhaps.  Still, Smith at sea is more interesting than most actors in the same situation.  Of course he could always be wondering why the citizens of Akhaten have all started singing encouragingly in the beast's direction, more a case of trying to create a rousing finale than anything logical.  Clara's leaf-based solution is a neat way of bringing the faith-based elements of the tale together.  Not only is this leaf the most important leaf in human history, it must also be the most durable to have survived twenty five years in a scrapbook and a trip across space in a moped.
This is a credible debut script set on a compelling world, but an absence of meat and a broad sentimental streak hold it back from the emotional heights Cross plainly hoped to scale.  Not so much “everybody lives” as “everybody sings”.


HIDE

For me Hide is a significant chapter in the fiftieth anniversary season.  Following the narrative cacophony of Season Six, there appeared to be a concerted attempt to get back to basics.  The florid first half of Season Seven went too far in this direction, its brash style arguably influenced by the show's burgeoning foothold in America.  The opening episodes of the second half felt tired and rehashed too much of what had gone before.  With Hide we find a noticeable sea change - a stripped-down instalment with a punchy one word title and solid sci-fi leanings.  It has a good setting in a haunted stately pile and one rooted in that most sinister of decades, the 1970s.  There is a sense of the cheesy wallpaper and knitted items adding to the dread – a key aesthetic factor that makes so many of the horror movies of that period successful today.  Of the recent past the Sixties are too respected to be truly appalled by.  The Eighties were just plain wrong.  The Seventies are the natural decade of visceral entertainment.  There’s even a sequence with a gold headset that could have come straight from the Philip Hinchcliffe era.
The story benefits from some simple but effective images of threat.  The "Caliburn Ghast" is a spectral figure with a Mr Men face.  A spinning black disc appears from nowhere to fracture and terrify.  The monster of the piece is a tower of faecal-looking matter blurred in the style of Francis Bacon.  As a writer who has collaborated with Guillermo del Toro, Neil Cross knows his scary onions.  This and The Rings of Akhaten have demonstrated his versatility and ease with the format, which bodes well for future scripts.  The “pocket universe” in which the Ghast is trapped is perhaps a little vague, albeit a recurring notion in the series.  But Cross introduces something seldom seen properly in the modern, fantasy-laden Who:  the idea of the unexplained being clarified by scientific endeavour.  Here the Doctor is not a lonely god or someone who shows up and extemporizes his way out of a situation.  This is a man driven by scientific inquisition, finding a parallel of sorts in Dougray Scott’s gifted but scarred Alec Palmer.
Even when the tale goes off into hyper mode with a fact-finding whistle-stop tour through the centuries, Cross brings it back down to earth as Clara gets her first inner-glimpses of the person she’s travelling with.  “We’re all ghosts to you,” she remarks, a refreshing perspective after so much waffle from other writers about how amazing the Doctor is.  There are hints about Jenna Coleman’s character, though as with Karen Gillan I’m not sure to what extent I’m watching a charismatic performance that enlivens a series of traits rather than a developing companion.  Like Amy, Clara has entered the TARDIS with gusto, displaying almost superhuman levels of adeptness, insight and fortitude.  Very good for the Doctor, not so convincing for the dedicated viewer.
Of the guest cast Jessica Raine comes off best as psychic Emma Grayling.  She has an understated quality that puts you at ease.  Hollywood star Scott looks out of sorts with the ‘science bit’, but his chiselled Action Man features make him a good contrast to the Doctor.  As for the Time Lord himself, dare I say there’s a restless aspect to Smith’s performance this year, as if he’s trying to make the material work for him rather than inhabiting the part.  Nevertheless, he skilfully portrays the Doctor as an ebullient child then a frightened man, before dealing a killer blow with an icy stare as the motives behind his trip to Caliburn House become clear.
There’s a hurried end scene that is too upbeat to gel with what’s gone before, but overall Hide heralded the beginning of what proved to be a satisfying and story-led set of episodes that showcased what Doctor Who is about – a weekly adventure series with memorable characters, frightening adversaries, a dash of science-fiction and above all a yarn you’ll recall long after the credits have rolled.  What better way to mark the show’s half century...?         

Friday 28 June 2013

ELVIS's JOB CLUB


The latest instalments of this handy guide for jobseekers are now online. 

In Going To The Jobcentre, Elvis outlines the right approach when preparing to enter an emporium of employment.

In The Jobcentre illustrates motivational techniques, and confidence issues are vigorously addressed by the tutor.






Monday 24 June 2013

THE AUDIO MAN - EPISODE 1 PREVIEW



Here's a link to a preview of a new comedy series coming soon...



 
Actor Roger Caning is the former star of obscure sci-fi detective series 'CRIPPEN!'. Webmaster Marek Bork is his biggest fan. Both are about to become dependant on each other in this five part story of lies, deceit and extreme blogging...





Welcome to Damnambulance Factor

My name's Steve.  I'm a writer, actor and comedian and this is my blog. 

On it I will be keeping you updated on upcoming projects.  These include a new five part audio comedy series called 'The Audio Man' and a sci-fi novella, more on which later.  I'll also be posting some other bits of comedy I made.

Oh, and I'm sure I'll be using this blog to rant or pontificate about something at some stage.