Читать книгу Work! Consume! Die! - Frankie Boyle - Страница 9

I’ve been living at the top of a high-rise on the outskirts of Glasgow. I can’t say where exactly but it’s the tallest one in the city. The evening I moved in I remember standing at the bottom just looking at it, reaching up endlessly into the night. The partying windows and the partied-out windows, a punch card for the fifth dimension. One night me and my mate Paul Marsh stop in the wee pub at the bottom of the flats. We’re supposed to be going round to our pal Murphy’s to play FIFA on the PlayStation and have a few joints, but the Celtic game is coming on in the pub and it seems daft to go play football. We phone Murphy to come meet us and after the game we walk down to the high street, Murphy’s elongated frame casting a daddy-longlegs shadow under the streetlamps. I get us all fish suppers and, for a laugh, pickled eggs, ’cause we’ve not had them in years and are genuinely fucking surprised they still happen. We get the lift up to mine to have a few beers and get MTV Base on.

Murphy is banging on about some show called The Game and genuinely can’t believe we haven’t heard of it. Cannot believe it. He’s laughing and shaking his head and chokes as he opens the wee bag with the pickled eggs in. He’s eating the third egg by the time the lift starts and then he realises. He looks up embarrassed with his face stuffed with eggs and says, ‘Sorry guys, fuck, sorry.’

‘It’s OK,’ I say, and fuck knows why but I tousle his hair, like he’s a wee boy. ‘I fucking hate eggs,’ I say stupidly and we all laugh. We’ve had two joints outside the chippy and we’re all stoned.

I’m staring at a football sticker someone’s put on the intercom. It’s Anthony Stokes, the Celtic player, with the bland smile of a waxwork. The smile that a millionaire in his early twenties conjures up for a contractually necessary photograph. Someone has scratched his eyes out with their thumb, really precisely, so with the perforated metal of the intercom underneath he seems to have the eyes of a robot beeman. As we go past the 14th floor the lift gives its usual shudder. Some really bad bastards on this floor.

I dig out some of those big plastic plates I have for when the kids come round, easier to clean. My flat looks like it’s been furnished at a hoopla stall and I just think, fuck this, fuck playing it on the portable telly again, this is nuts. ‘Wait till you see this, lads!’ I yell, rising unsteadily and aiming at the far wall. I’m pressing at the wall and suddenly it flies open with a rattle, not the Star Trek whoosh I’d paid for.

Paul looks up from his chips and still has his hand in his mouth, like a baby. I’m standing with my arms wide and laughing. Behind me – the lights slowly rising – is a massive room going back an impossible distance in Victorian splendour.

It’s an expedition down to the far wall where a huge plasma sits, still paused on a grimly realistic cup game I was playing as Celtic. Slowed by the grass, the guys laugh as they spacewalk on the suddenly deep carpet. The room is the whole floor down one side of the building and I’ve roughly modelled it on a stateroom on the Titanic. There are walnut panels, replica straight-backed chairs, an ottoman and three huge brass floor-to-ceiling portholes. Glasgow in the darkness is just lights.

I take them to the big oak table and there’s the whole estate mapped out in a wax model. It’s a proper belter too. All the local characters are there, wee white wax people, wee wax hardmen and wide-os, and wee wax shopkeepers (I just keep those ones in the shops, you never really see them anywhere). All the wee wax people are mostly in their houses because I haven’t really fucked with it since last night. I notice that the wee Murphy, Marshy and me are all in my flat, right by the table.

All over the rest of the table are notes for the book, paragraphs in longhand on A4, scraps of paper, a stack of little notebooks for sitting in cafes.

‘This the book?’ says Paul, compartmentalising both the stateroom and voodoo neighbourhood with typical élan.

‘Aye,’ I laugh. ‘That’s “War” you’re holding right there. I explain “war”, man …’

It’s like a wee neat pile of stress, those notebooks, so I just mumble, ‘It’s good for absolutely nothing,’ but, like most references, this passes Marsh by. I take the notebook off him and put it back where it was.

‘Some days I think it’s brilliant, some days I think it’s shite …’ I offer over my shoulder while I’m plugging the controllers in.

‘Like having a kid!’ slurs Murphy, but he’s got kids so we all groan at the harshness.

Murphy gets bored of the football. He can never get the shooting right, always just fucks it over the bar. He’s sitting through in the lounge of the real flat watching MTV loudly, as Paul and I fight a gripping series of Old Firm encounters. I play as Celtic and the ref is even biased on the fucking PlayStation, Marshy getting away with several tackles Frank Miller’s Batman would have been proud of.

I wake Murphy up when I’m going to bed and he phones a cab. As I’m saying goodnight to Paul, I notice the wee light flashing on my laptop. David Murphy doesn’t even know any porn sites and has just pishedly typed the word ‘groped’ into Google.

I go into my room and start the big stretching session I always have before bed. No matter how long I do, my legs always ache when I get up. Telegram from Mr Death! He’s sorry he can’t be with you right now! Telegram from Mr Death!

I’m in the middle of a confused dream where I’m married to a Muslim woman who won’t let me fuck her, when I hear the drill of the doorbell. I bang through to the living room and nearly fall over Paul, who for some reason is sleeping on the floor, right beside the couch. As I open the door, I look behind me and check we closed the wall, and when I look back I see two massive cops.

They’re plainclothes, CID or what have you. The older one has those watery eyes some older Scottish guys have, like he’s about to start greeting. In front of him is a man with a side-parting who looks like an enormous schoolboy.

‘Mr Francis Boyle?’ he asks, but it’s not really a question. ‘Alright if we come in?’

All the grass is through in the stateroom, I can see it in my mind’s eye. It’s on the big tarpaulin I put down so we wouldn’t get burns on the carpet. ‘Paul! We have visitors!’ I shout, and he leaps up startled. Literally springs up like he’s part of an ambush, then sits down suddenly on the couch, internalising a massive spasm of guilt.

The two cops are making a show of looking about, like explorers in a bad movie. I make them a cup of tea and we all sit down around the tiny kitchen table while Paul sits rigidly in the other room, too paranoid to leave. I expect some kind of introduction but there is none.

‘This is a fairly unusual matter,’ the younger one starts happily. ‘I believe you know the TV presenter Dom Joly?’

I try to shrug but the mug I’m holding is too full, so it comes over like a twitch. ‘Eh, not really. I met him a couple of times doing panel shows. We did a couple of panel shows together.’

‘Panel shows,’ agrees the older one mournfully, his eyes filling right up like tears are going to start rolling down his face.

‘Mr Joly was the subject of a serious sexual assault over the weekend,’ chirps the other guy. I don’t really register what he says at first. I’m aware that I’m not really saying anything and I start to feel uneasy.

‘Dom Joly?’ I ask foolishly. They don’t acknowledge this in any way, so I say, ‘sexually assaulted?’ and then there’s a long pause.

‘Dom Joly has been sexually assaulted,’ the old policeman confirms sadly. ‘Dom Joly from Trigger Happy TV.’

‘God, I’m sorry to hear that,’ I say, trying for a concerned look and tone. I actually feel nothing or – if possible – less than nothing. ‘He’s a big guy,’ I add puzzledly.

‘It’s believed Mr Joly was drugged, although we are still looking for a physically powerful attacker,’ side-parting confides excitedly.

‘That’s terrible.’ I look blankly at the digestive beside my cup that it would now be inappropriate to dunk. ‘Someone drugged his drink, or …’

‘They somehow got the drug into food served in his dressing room,’ he explains.

‘A Chicken Kiev,’ watery eyes announces.

I feel a rising, horrified excitement. The sort you feel when somebody dies. ‘Am I a suspect?’

They both laugh.

‘No, no, no, Mr Boyle.’ They beam silently at me for a bit. ‘You are on a list of, eh, celebrities we’re contacting in case they may be in danger.’

‘Danger? In danger of, eh …?’

‘Of being sexually assaulted,’ the old guy nods vigorously. ‘Of being subjected to the same kind of sexual assault as Mr Joly … there have been other incidents like this involving other, eh, celebrities.’

‘The suspicion is that this guy has been operating for several years, attacking people who have been famous but then slip below a certain level of public recognition,’ his partner explains, inexplicably ending by smacking his fist into his open palm.

I hold my tea in both hands like I’m nursing a Scotch. I try to think of a polite way of asking, then blurt out, ‘Who? Who else has he raped?’

The old boy flips open a notebook. ‘A lot of the presenters from The 11 O’Clock Show, Tony Slattery, Steve Punt, Sam Fox, Michael Greco, two … no, all three of the ladies from Smack the Pony, Frank Sidebottom, before he died. We can’t really name people.’

‘This has been going on for a while?’

‘It seems to be getting more active. And he seems to be focusing his anger on comedy.’

‘Everybody does,’ I smile.

As I show them out, Paul gets up halfway as some sort of farewell and it ends up looking like a curtsy. They both shake my hand warmly and, as the younger cop heads out, the old guy grips me by the arm and forces something into my hand. He fixes me with the liquid eyes of a dying spaniel and leaves without a word.

Half an hour later Paul and I are still smoking a joint on the couch, passing the picture back and forth. It’s a dressing room. I reckon it’s an ITV dressing room at LWT. In the foreground you can see part of a guy lying on the floor, his trousers off and a huge arse exposed. Is this Dom Joly? Is he fucking dead? Why would they take a photo while he was still unconscious? Did the rapist take it? On the wall is the real focus of the piece. Written in blood (presumably, we agree, Dom Joly’s arseblood) is a slogan in block capitals.

‘SHOWBUSINESS HAS NO BOTTOM.’