Those who knew him, really knew him, acknowledged that a part of him had died two months ago.
Yet the un-dead lived on.
Here he was at Pinewood and Black Park in the company of vampire twins and a young, dynamic Count Karnstein so seethingly bestial-looking in the shape of Damien Thomas he might well snatch the reins from Christopher Lee and become the
Dracula
for a new generation. The third in the trilogy, this excursion was being trumpeted loudly by the company as Peter Cushing’s return to the Hammer fold. Once more written by Tudor Gates, heavily influenced by Vincent Price’s
Witchfinder General
, it was the tale of a vampire-hunting posse with Peter Cushing at its head. And with top billing.
He remembered clearly the lunch a month earlier with his agent, John Redway, and the leather-jacketed young director John Hough at L’Aperitif restaurant in Brown’s Hotel, Mayfair.
“You’re returning to combat evil, Peter,” the director had said. But he wanted a darker tone. He didn’t want it to be a fairy tale like other Hammers. He wanted to reinvent the horror genre.
Cushing had said nothing as he listened, but thought the genre didn’t need reinventing. The genre was doing very well as it was, thank you very much. He did think the idea was original, however, and the director had convinced him over three courses and wine of his intention to make it as a bleak morality play, manipulating the audience’s expectation of good and evil by having them side with the vampires against the pious austerity of Gustav Weil, the twisted, God-fearing witch-hunter, uncle to the vampire twins, Frieda and Maria, played by the pretty Collinson sisters—Maltese girls whose claim to fame was being the first identical twin centrefold for
Playboy
, in the title role.
Twins of Evil
—or was it called
Twins of Dracula
now, the American distributor’s illogical and factually incorrect alternative?
“You see, Peter, real evil is not so easy to spot in real life,” the director had said. “In real life, evil people look like you and me. We pass them in the street.”
“Really?”
“Yes. And that’s what I want to capture with this film. The nature of true evil.”
Whether it would be a success or not Cushing couldn’t know. He would do his best. He always did. He had an inkling how this sort of film worked after all these years and that’s what he would bring to the proceedings. That’s what they were paying for. That and, of course, his name.
His name.
He remembered the conversation in the dark of the Oxford cinema.
According to the Fount of All Knowledge, Carl’s mother moved to Salisbury shortly after Gledhill died, to live with her sister and set up a shop together. He hoped for once the gossip contained some semblance of accuracy. If she sought to rebuild her life afresh, that could only be a good thing. For her, and the boy.
For himself, there were other films on the horizon. He’d told John Redway to turn nothing down. He’d read the script of
Dracula: Chelsea
and it was rather good. He was looking forward to playing not only Lorrimer Van Helsing in the present day, but also his grandfather, in a startling opening flashback, fighting Christopher Lee on the back of a hurtling, out of control stagecoach before impaling him with a broken cartwheel. And if that was a success there were plans for other Draculas. Another treatment by Jimmy Sangster had been commissioned that he knew of, which boded well, and he hoped Michael Carreras would grasp the reins and take Hammer into a new era.
One of the more imminent offers was a role from Milton in his latest portmanteau movie
Tales from the Crypt
, but he didn’t care for the part, a variation of
The Monkey’s Paw
. Instead he’d asked if he could play the lonely, widowed old man, Grimsdyke, who returns from the grave to exact poetic justice on his persecutor. A crucial scene would require Grimsdyke to be talking to his beloved dead wife, and he planned to ask Milton if he’d mind if he used a photograph of Helen on the set. Then he could say, as he’d wished for many a long year, that they’d finally made a film together.
As it was, her photograph was never far away. He kept one above his writing desk at home, and another beside his mirror in his dressing room or make-up truck. At home he always set a place for her at the dinner table, and not a day went by when he didn’t talk to her.
Hopefully there’d be other movies in the pipeline. They’d keep the wolf from the door and the dark thoughts at bay—ironic, given their subject matter. Not that he could see his grief becoming any less all-consuming with the passage of time. Time, as far as he could imagine, could do nothing to diminish the pain. The lines by Samuel Beckett often came to mind: “I can’t go on, I must go on, I will go on,” and he knew that the third AD would be back before too long, to say they were ready for him.
But for the next few minutes until that happened, he would rest and try to clear his mind as he always did before a take, and picked up his Boots cassette recorder from between his feet, put on the small earphones and closed his eyes. He pressed “Play”. The beauty of Elgar’s
Sospiri
gave way to Noel Coward singing ‘If Love were All’.
One of Helen’s favourites, and his own.
He had lost the one thing that made living real and joyful, the person who was his whole life, and without her there was no meaning or point any more. But what had others lost? Yet, they survived.
He pictured the boy on his bicycle riding away, the rolled up magazine in his pocket.
Whilst he was living, he knew, time would move inexorably onward and the attending loneliness would be beyond description, but the one thing that would keep him going was the absolute knowledge that he would be united with Helen again one day.
The spokes of the bicycle wheel turned, gathering speed, blurring.
Life must go on, yes, but in the end—
after
the end—life was not important, just pictures on a screen, absorbing for as long as they lasted, causing us to weep and laugh, perhaps, but when the images are gone we step out blinking into the light.
Until then he was called upon to be the champion of the forces of good. He would spear reanimated mummies through the chest. He would stare into the eyes of the Abominable Snowman. He would seek out the Gorgon. Fire silver bullets at werewolves. He would burn evil at the stake. He would brand them with crucifixes. He would halt windmills from turning. He would bring down a hammer and force a stake through their hearts and watch them disintegrate. He would hold them up by the hair and decapitate them with a single swipe.
He would be a monster hunter.
He would be Van Helsing for all who needed him, and all who loved him.
Afterword by Mark Morris
I’ll start, if I may, with a couple of first encounters.
I was ten or eleven years old when I saw my first proper adult horror movie. It was almost certainly a Friday night, and my parents had popped across the road to have a drink with the neighbours. They had left my younger sister and me with a phone number and strict instructions to call if anything
untoward
occurred. I can’t recall which of us decided to watch that night’s
Appointment With Fear
on ITV, but I remember the movie vividly. It was
The Haunted House of Horror
directed by Michael Armstrong. Made in 1970, it was a spooky old house/slasher flick set in swinging London.
And it
terrified
me.
After the film was over I remember lying on the settee, literally shaking with fear, unable to believe what I had just seen:
A woman hacked to bits! (In my mind’s eye for
years
afterwards I saw her blood-streaked hand crawling across the floor like a crippled spider towards the candle she had dropped.) A man stabbed in the groin and
blood
(!!) pouring out of his mouth! (What awful anatomical connection had made
that
happen?)
Needless to say,
The Haunted House of Horror
made a massive impression on me. I felt as though I’d been unceremoniously introduced to a terrible, forbidden world of degradation and madness and absolute savagery. It was a world that fascinated and repelled me in equal measure. I was hungry to see more, but at the same time I found the prospect of it gut-churningly terrifying. Looking back on that time from my present standpoint, I can still recall with absolute clarity that raw and intense dichotomy of emotions— that sense of desperately wanting to dip my toe back in to the water, and yet at the same time making myself almost sick with anxiety at the prospect of it.
Seminal though that experience might have been, however, it was, in retrospect, the
second
horror movie I saw (in my possibly erroneous memory this took place the following Friday) that had a more profound and enduring effect on me. That movie was
The Brides of Dracula
and it was my first experience of the wonder that is Hammer.
I recall watching
The Brides of Dracula
in a state of nervous tension. But whilst I was constantly on edge, I seem to remember that my initial reaction once the film had finished was one of relief that it hadn’t bludgeoned my senses into terrified submission in the same way that
The Haunted House of Horror
had done the previous week. And yet, despite that, ultimately I found
The Brides of Dracula
more insidiously disturbing. Because whereas
The Haunted House of Horror
had been merely brutal,
The Brides of Dracula
was somehow…
wrong
.
By that, I mean that although the film was elegant, it had a sense of decadence about it, and was horribly perverse in a way I couldn’t fully articulate. The fey, softly-spoken vampire seemed to me a creature of weird hungers, ones that— bafflingly for a pre-pubescent schoolboy—somehow intertwined sex and death, even a suggestion of incest, into one alarmingly potent cocktail.
What made the film emotionally bearable for me at the time, however – and even afterwards while it was weaving its strange, dark spell on my mind—was the symbol of calm and reassuring decency at its core. That decency was personified by one man; a man who not only stood steadfast against the sickening plague of vampirism, and ultimately defeated it, but who also led me, personally, through the movie and safely out the other side. That man was an actor who I had never knowingly encountered before, but who would, ultimately, become my—and is now also my daughter’s—favourite actor of all time:
Peter Cushing.
Like many (most) horror movie aficionados of my generation, I can’t fully express how much Peter Cushing means to me. Since that first adolescent encounter with him, he has been a constant and welcome presence in my life. Even now, as I write, he looks benignly down on me from mini-posters of
The Curse of Frankenstein
and (naturally)
The Brides of Dracula
framed on my study wall; numerous DVDs of his movies and TV appearances line my shelves; books by and about him stand shoulder to shoulder on my bookcases with tomes about Hammer and Amicus, the two movie studios who were his most frequent employers; I even own a hand puppet of Grimsdyke, the character he played in the Amicus movie,
Tales From The Crypt
.
Sadly I never met Cushing himself, but those who did never fail to speak of him with anything other than huge affection and incredible fondness. He was, by all accounts, both a gentleman and a gentle man—a man of impeccable manners, who never had a cross or unkind word to say about anyone.
The fact that he could convincingly play a whole variety of roles, from thoroughly decent, almost saintly good guys, like Van Helsing, to cold-hearted killers like Victor Frankenstein, is, of course, testament to his consummate acting abilities. Whatever role he was cast in, Cushing enriched and made wholly his own, and although he appeared in more than a few less than great films throughout his career, there is not a single instance where he doesn’t imbue a movie with a touch of class simply by being in it.
It was in 1992, almost two decades after my initial acquaintance with the work of Peter Cushing, that I first became aware of Stephen Volk. Like millions of other people, I settled down to watch the BBC1 Halloween docu-drama,
Ghostwatch
, little imagining what an impact it would have.
I was subsequently both astonished and secretly delighted by the furore that the programme generated. As far as I was concerned, drama—especially if combined with ‘horror’, my chosen and beloved genre—
should
be provocative, confrontational, thought-provoking and emotionally unsettling.
Ghostwatch
had been all of these things, and I
loved
the fact that it had confused and frightened people, that it had rattled them out of their cosy little stupors. I remember thinking that I didn’t know who Stephen Volk was, but that I liked the cut of his jib, and that from now on I would watch out for his name.
When his TV series
Afterlife
hit the screens several years later, I watched it avidly. If you haven’t seen it, I recommend that you buy the DVDs and do so—it’s brilliant. The very last episode, in particular, is one of the most emotionally affecting hours of TV drama I have ever seen. A sublime piece of writing, it somehow manages to encapsulate exactly what it means to be a human being, examining the nature of love and loss and mortality not only with an unflinching directness, but also with a tenderness and sensitivity rarely seen on TV.
Fast forward another year or so, to the 2007 World Horror Convention. That year’s event was being held in Toronto, and my very good friend, Tim Lebbon, and I had arranged to fly out together. When, a month or two before the flight, Tim mentioned not only that he knew Stephen Volk, but that he had persuaded him to attend the convention, and that he would, therefore, be flying out with us, I admit I was a little in awe. I was excited about meeting Steve, but because of his dauntingly impressive movie and TV credits—here was a man who had worked with Ken Russell and William Friedkin, for God’s sake!—I expected him to be not only a debonair and sophisticated man of the world, but also hard-nosed, confident, super-professional, perhaps even somewhat cynical.