AS THE BRASS BANDmoved away I waited for the traffic to clear, for once in no hurry to escape from London. Three months after first meeting David Cruise, I had sold my Chelsea Harbour flat to a young brain surgeon. Our solicitors had finally exchanged contracts, after cliff-hanging weeks bedevilled by the surgeon’s sharp-eyed wife. She had spotted me pacing around an empty bedroom as she poked and pried, and misread my last doubts about moving permanently to Brooklands. ‘Where?’ she asked, when I explained my reasons for selling up. ‘Does it really exist?’
She suspected a secret flaw, perhaps a zeppelin mooring mast on the floor above or a sewage outfall ten feet below. She endlessly circled the dining room, visualizing the eternity of dinner parties that constituted her dream of the good life. The future for her was an escalator of metropolitan chatter so lofty that it generated its own clouds. When she left I squeezed her hand suggestively, trying to elicit a microsecond’s passion, a hint of sexual mischief, a saving flash of amorality. Go mad, I wanted to say, go bad. Sadly, she walked off without any response. But that was inner London, a congestion zone of the soul.
All the same, I had certain doubts over moving to Brooklands. I was leaving behind my baffled friends, my bridge and squash evenings, a former lover I was still close to, and even my ex-wife, with whom I had a spiky but intriguing bi-monthly lunch. Then there were all the pleasures and discontinuities of metropolitan life, from the cast room at the V&A to the shit in the letter box. To my friends I was apparently giving up all this in return for an obsessive quest to find my father’s killer.
I was still determined to track down the gunman who had shot my father, but for the time being his death was no longer centre stage. The Brooklands police claimed that they had failed to trace the Jensen’s owner. I assumed they were well aware that the car belonged to me, but had their own reasons for not questioning me about the bomb. Perhaps they feared that I would embarrass them by referring to the unsolved mystery of the Metro-Centre shooting. As long as I could, I preferred to keep out of their way and think about my father. In a sense I knew him far better than at any time in the past, but had I redeemed myself in his eyes? I doubted it. Meanwhile, I had stumbled on a far more important means of restoring my faith in myself. A new future waited to greet me: forgiving, full of surprises, and ready to redeem all my failures.
THE TRAFFIC WASstill stationary in the high street, though the parade had gone and the police were reduced to playing some obscure game of their own. I rested my head against the window pillar, and looked up at the billboard above a TV rental store, advertising the Metro-Centre and its cable channels. There were now three channels, mixing sport, consumer information and social affairs, and they were popular viewing in the motorway towns.
The advertisement showed a grainy close-up of David Cruise, no longer the primped and rouged anchorman of afternoon television, but the fugitive and haunted hero of a noirfilm. He sat at the wheel of his car, staring at the open road and whatever nemesis lay in wait for him. An eerie glare lit the grimy windscreen and exposed every pore in his unshaved face. The chocolate tan had long faded. This David Cruise, though clearly the cable channels’ chief presenter, was closer to the desperate loners of trenchcoat movies, doomed men sleepwalking towards their tragic end.
How this gloomy scenario tied in with the infinite consumer promise of the Metro-Centre was unclear, and when I sketched out the scene for Tom Carradine and his public relations staff they had objected vigorously. But the director, set designer and even Cruise himself all instantly saw the point and carried the day for me.
Another Metro-Centre poster, almost the size of a tennis court, filled the side of a town-centre office block. It showed Cruise in a nightmare replay of a Strindberg drama, threatening and confused as he stared across a display floor of showroom kitchens, a husband who had woken into the innermost circle of hell.
The series of posters were stills from thirty-second commercials on the cable channels. They presented Cruise as a trapped creature of strange and wayward moods—grimacing, frowning, angry, morose, hallucinating and obsessed. He would stare almost ecstatically at a battered dustbin, as if some revelation was at hand, or ring a doorbell at random and scowl at a startled housewife, ready to slap her or beg for sanctuary. In others he haunted the Brooklands racing circuit, the squeal of tyres like torture in his head, or followed a group of schoolgirls across a Heathrow concourse like a would-be child-abductor.
A surprisingly good sport, Cruise played the roles in a skilful and sensitive way, moving through a baleful consumer landscape of car showrooms, call centres and gated estates. The storylines were meaningless, but audiences liked them. Together they made sense at the deepest level, scenes from the collective dream forever playing in the back alleys of their minds.
As Cruise’s media adviser, I had taken a gamble, but I was ready to spin the wheel and risk everything. Audience figures surged, and all over the motorway towns the first copycat posters soon appeared, playing on a suppressed need for the bizarre and the unpredictable. At the junction of Ashford High Street and the dual carriageway was a billboard advertising a local insurance company’s endowment policies. It showed a deranged young woman dragging a blood-spattered child across a deserted car park, watched by a smiling couple who picnicked beside a Volvo with a damaged wing.
I laughed generously at the clever in-joke. Like all the posters, it was advertising nothing except its own quirky waywardness. Yet the concept worked. Everywhere sales boomed, and the Metro-Centre activated two dormant cable channels. People from the Home Counties, and even from inner London, drove like tourists through the motorway towns, aware that these invisible suburbs were lit by a new fever. They cheered on the massed sports teams that strutted and wheeled around the Metro-Centre car parks, they straightened their shoulders as the marshals bellowed and stamped. They watched the disciplined files of marching athletes, the ceremonial hoisting of banners, the loyalty-card supporters chanting ‘Metro . . . Metro . . .’
Unknown to its busy executives and sales staff, the Metro-Centre had become the headquarters of a virtual political party, financed by its supporters’ clubs and gold-card memberships. It issued no manifesto, made no promises and outlined no programme. It represented nothing. But several St George’s candidates, standing on no platform other than their loyalty to a shopping mall and its sports teams, had won seats on local councils. Their chosen party political broadcasts were the thirty-second commercials I had devised for David Cruise.
To his credit, Cruise had done a superb job, justifying all my hopes for him. He agreed to every suggestion I put forward, eager to give everything to these tense if meaningless psychodramas. He coped manfully with the flood of valentines and marriage proposals, and never forgot that he was a talk-show presenter. His modest range was a large part of his appeal, and allowed every male viewer to think of himself in these haunted roles, and every female admirer to imagine herself as the heroine playing Jane to this neurasthenic Tarzan of the suburban jungle.
‘Years of failure,’ he often told me, ‘are the worst preparation for overnight triumph.’ And the best preparation? ‘Years of success.’
He was still affable and engaging, despite his sly pleasure in his new-found aggression. He would bully and abuse the self-immersed wives and dull husbands who appeared on his consumer programmes, yet without causing offence. His impatience with the dimmer guests, his clenched fists and evident stress, merged easily into the desperate characters he played in the noir commercials.