Elevator Shaft Quotes

It was like falling down an elevator shaft and landing in a pool full of mermaids.

We talk about love like it's an involuntary act. We fall into love, like a hole, a puddle, an elevator shaft. We never step mindfully into love. Love we seem to think, requires a loss of control; love necessitates that vertiginous giving over to gravity; love wants you to have no choice.

He can’t help Marianne, no matter what he does. There’s something frightening about her, some huge emptiness in the pit of her being. It’s like waiting for a lift to arrive and when the doors open nothing is there, just the terrible dark emptiness of the elevator shaft, on and on forever. She’s missing some primal instinct, self-defense or self-preservation, which makes other human beings comprehensible. You lean in expecting resistance, and everything just falls away in front of you.

The elevator shaft was a kind of heat sink. Hot food was cold by the time it arrived. Cold food got colder. No one knew what would happen to ice cream, but it would probably involve some rewriting of the laws of thermodynamics.

My gaze swung back to the elevator. Part of me wanted to stay to see what the hell an origin was and why they were acting like the "Cloverfield" monster was going to come out of the elevator shaft, but Kat was here, and obviously whatever was about to rain down on us wasn't a friendly.

Saturday, December 12, 8 p.m., the Loft I WILL PASS ALGEBRA THIS SEMESTER, and NOTHING IS GOING TO DISTRACT ME FROM STUDYING FOR THE FINAL!!!!!!!!!!! Saturday, December 12, 9 p.m., the Loft I just had to go out and see the part where Bruce Willis throws the explosives down the elevator shaft, but now I am back to work.

Then I’d throw my automatic down the elevator shaft-after I’d wiped off all the fingerprints and all. Then I’d crawl back up to my room and call up Jane and have her come over and bandage up my guts. I pictured her holding a cigarette for me to smoke while I was bleeding and all. The goddam movies. They can ruin you. I’m not kidding.

Old men only lie in wait for people to ask them to talk. Then they rattle on like a rusty elevator wheezing up a shaft.

There’s something frightening about her, some huge emptiness in the pit of her being. It’s like waiting for a lift to arrive and when the doors open nothing is there, just the terrible dark emptiness of the elevator shaft, on and on forever. She’s missing some primal instinct, self-defence or self-preservation, which makes other human beings comprehensible. You lean in expecting resistance, and everything just falls away in front of you.

Beware, Charlie, old men only lie in wait for people to ask them to talk. Then they rattle on like a rusty elevator wheezing up a shaft

There's only one good aspect to it," says Joe. "You may get his job. And if you have any luck, maybe you'll fall down the elevator shaft and break your neck too. We'll buy you a nice wreath, I promise you that.

The first lift shaft was built four years before the first lift. In 1852 Peter Cooper was constructing the Cooper Union building in New York with an elevator shaft, in the sure and certain knowledge that if he built it, the lift would come. That isn’t an act of impatience, it’s an act of faith, and it is, archetypally, the act of an American.

It was an echoing susurrus, reverberating toward them down the elevator shaft. It was an ominous sound. There was a fullness to it that triggered a cascade of pinpricks down the base of Quinn’s neck. The car rose and the fuzzy, amorphous sound resolved into a familiar bassline. And then voices. And then . . . wolves howling? “That’s Thriller,” Quinn said.

Thompson was inundated with fan mail and phone calls, which he said was like "falling down an elevator shaft and landing in a pool of mermaids.

After a long day of screaming at the trees, I smell like a skyscraper. Would you care to ride on my elevator shaft?

The entire restaurant moved around the center core of the elevator shaft and what must have been the kitchen space.

i remember el salvador, /n it’s horse shit, like i tell you. i stopped chasing the messiahs /n madonnas - wised up, set myself straight. i’ve laid em /n balled em in every half-way house south of biloxi, every 10 cent bed west of tulsa, fucked /n slobbered myself stupid on swingsets, greyhounds /n gas station floors the world over. i’ve split em in half from head to ass in elevator shafts, plus-size fitting rooms, in the lobbies of sheraton inns /n kfc parking lots - fucked em everywhere every way that i could. someone else can fuck em now. i’m done w/ el salvador. i know her militias her perfume, munitions, her missing hubcaps /n posters of paris. i know her goyas, her barricades, her paintboxes /n bookshelves of baudelaire, her banners, her bullshit /n paris can keep her.

There's something frightening about her, some huge emptiness in the pit of her being. It's like waiting for a lift to arrive and when the doors open nothing is there, just the terrible dark emptiness of the elevator shaft, on and on forever.

There’s something frightening about her, some huge emptiness in the pit of her being. It’s like waiting for a lift to arrive and when the doors open nothing is there, just the terrible dark emptiness of the elevator shaft, on and on forever.

I am standing at the base of a giant cactus. It is tall, towering over me, wide too, like an elevator shaft, covering the whole width of the trail. I couldn’t get my arms around it, even if I wanted to, even if it wasn’t prickly, which it is, extremely, and green. The color of an olive.

We talk about love like it’s an involuntary act. We fall into love, like a hole, a puddle, an elevator shaft. We never step mindfully into love. Love, we seem to think, requires a loss of control; love necessitates that vertiginous giving over to gravity; love wants you to have no choice. Your heart thumps because there’s danger and adrenaline in love. You lose yourself in love because you’ve displaced yourself.

Oh, My God..." Even as he saw the face and heard that voice say "Crow..." he was throwing himself backward out of the shaft. Then the top of the elevator car blew out and the air was filler with shrapnel, everybody hit the deck, and crow grabbed his crossbow, yelling, "Get back! It's him, the vampire!" But it was too late. The vampire rose with the grip of a single beautiful hand, almost levitating toward them, his power and eyes and smile and terrible beauty so alien but so familiar, so pale but so solid, so horrible but so magnetic. And he came closer and closer. "Get back," ordered crow, and the Team started to obey. "Too late," the vampire said, halting them with the voice. "You've let me get too close." Crow raised his crossbow all the way then saied: "Hold it there." The thing laughed and said, "Are you joking?" "Stop!" said Crow. And the vampire smiled and showed his big teeth and said: "Stop me...

He began his new life standing up, surrounded by cold darkness and stale, dusty air. Metal ground against metal; a lurching shudder shook the floor beneath him. He fell down at the sudden movement and shuffled backward on his hands and feet, drops of sweat beading on his forehead despite the cool air. His back struck a hard metal wall; he slid along it until he hit the corner of the room. Sinking to the floor, he pulled his legs up tight against his body, hoping his eyes would soon adjust to the darkness. With another jolt, the room jerked upward like an old lift in a mine shaft. Harsh sounds of chains and pulleys, like the workings of an ancient steel factory, echoed through the room, bouncing off the walls with a hollow, tinny whine. The lightless elevator swayed back and forth as it ascended, turning the boy’s stomach sour with nausea; a smell like burnt oil invaded his senses,

KODO SAWAKI: During World War II, when I visited a coal mine in Kyushu, they allowed me to go into the mine. Like the miners, I put on a hard hat with a headlamp and went down the shaft in an elevator. For a while, I thought the elevator was going down very fast. Then I started to feel as if it were going up. I shone my headlamp on the shaft and realized the elevator was still going down steadily. When an elevator starts descending with increasing speed, we feel it going down, but once the speed becomes fixed, we feel as if the elevator were rising. The balance has shifted. In the ups and downs of life, we’re deceived by the difference in the balance. Saying, “I’ve had satori!” is only feeling a difference in the balance. Saying, “I’m deluded!” is feeling another. To say food tastes delicious or terrible, to be rich or poor, all are just feelings about shifts in the balance. In most cases, our ordinary way of thinking only considers differences in the balance. Human beings put I into everything without knowing it. We sometimes say, “That was really good!” What’s it good for? It’s just good for me, that’s all. We usually do things expecting some personal profit. And if the results turn out different from our hidden agenda, we feel disappointed and exhausted.

55. We should, therefore, have a guardian, as it were, to pluck us continually by the ear and dispel rumours and protest against popular enthusiasms. For you are mistaken if you suppose that our faults are inborn in us; they have come from without, have been heaped upon us. Hence, by receiving frequent admonitions, we can reject the opinions which din about our ears. 56. Nature does not ally us with any vice; she produced us in health and freedom. She put before our eyes no object which might stir in us the itch of greed. She placed gold and silver beneath our feet, and bade those feet stamp down and crush everything that causes us to be stamped down and crushed. Nature elevated our gaze towards the sky and willed that we should look upward to behold her glorious and wonderful works. She gave us the rising and the setting sun, the whirling course of the on-rushing world which discloses the things of earth by day and the heavenly bodies by night, the movements of the stars, which are slow if you compare them with the universe, but most rapid if you reflect on the size of the orbits which they describe with unslackened speed; she showed us the successive eclipses of sun and moon, and other phenomena, wonderful because they occur regularly or because, through sudden causes they help into view – such as nightly trails of fire, or flashes in the open heavens unaccompanied by stroke or sound of thunder, or columns and beams and the various phenomena of flames. 57. She ordained that all these bodies should proceed above our heads; but gold and silver, with the iron which, because of the gold and silver, never brings peace, she has hidden away, as if they were dangerous things to trust to our keeping. It is we ourselves that have dragged them into the light of day to the end that we might fight over them; it is we ourselves who, tearing away the superincumbent earth, have dug out the causes and tools of our own destruction; it is we ourselves who have attributed our own misdeeds to Fortune, and do not blush to regard as the loftiest objects those which once lay in the depths of earth. 58. Do you wish to know how false is the gleam that has deceived your eyes? There is really nothing fouler or more involved in darkness than these things of earth, sunk and covered for so long a time in the mud where they belong. Of course they are foul; they have been hauled out through a long and murky mine-shaft. There is nothing uglier than these metals during the process of refinement and separation from the ore. Furthermore, watch the very workmen who must handle and sift the barren grade of dirt, the sort which comes from the bottom; see how soot-besmeared they are! 59. And yet the stuff they handle soils the soul more than the body, and there is more foulness in the owner than in the workman.

dust. It was silent by nature—the only noise that found its way into the dark passage was the occasional passing of the elevator car. A button would be pressed and the hoist would come to life, taking the lift from one floor to another. The doorway would open, the passenger would exit, and the shaft would return to its hibernation.

The doors closed behind him, and Kelvin was swallowed into the elevator shaft that took him back down to the belly of his self-made monster.

Before the war, five-stories was the rule, and commercial life was carried on primarily at ground level—in streets and showrooms, at sales counters, on exchange floors. After the war, office buildings went vertical, climbing to unprecedented heights—six stories, seven, eight. “Our business men are building up to the clouds,” one newsman exclaimed. The elevator made this possible. Lift technology had improved since the vertical screw used at the Fifth Avenue Hotel. Now the “steam and drum” method was available. Steel wire cables were run over a drum at the top of the shaft, which was then revolved to raise or lower the cab. An alternative model hauled the cage up and down the shaft by looping its wire cable over a pulley, then attaching a wrought-iron bucket almost as weighty as the cage. When filled with water from a tank, the bucket descended by gravity, pulling the cage up. At the bottom, an operator emptied the bucket, shifting the weight balance in favor of the cage, which then descended and pulled the bucket back up.

The dream sequence where Leonard was holding Penny in the elevator shaft is captured in a photograph of the pair on Penny’s refrigerator. But as executive producer Steve Molaro points out, that picture could technically never exist. Steve Molaro: It makes me crazy because technically that photo was from the fantasy sequence, so it shouldn’t be a real photo on her refrigerator. Unless Leonard said, “Hey, we should go re-create this image I have from a dream of mine and get in the elevator shaft and have somebody take a picture of us,” it doesn’t belong there.

Anaesthetic Aesthetic by Stewart Stafford Crumbs infesting my bedsheets, Sleeping sand in all the cracks, As a hijack tick on a giant horse, Awakened by deadening thudding. Body falling down the elevator shaft, Can you stop that instantly, friend? I cannot focus on all my work here, You should have water to cannonball. And another stiff just fell down that, Cool, go ahead if you have to leap, You won't see me cleaning that mess, Shattered carcasses, basement floor. © Stewart Stafford, 2022. All rights reserved.

At a mixer at the Art and Architecture School, I met Ray Connors. He had small, worried eyes and fine, babyish hair, already receding. His back was hurting him; two years ago he had fallen down an elevator shaft. He was graduating from the Architecture School in January. He went off to get me a glass of wine; by the time he came back, I had practically forgotten his existence.

It was an invention with huge potential in saving money and lives, but Otis faced a skeptical and fearful public. So he rented out the main exhibit hall of what was then New York City’s largest convention center. On the floor of the hall he constructed an open elevator platform and a shaft in which the platform could rise and descend. One afternoon, he gathered convention-goers for a demonstration. He climbed onto the platform and directed an assistant to hoist the elevator to its top height, about three stories off the ground. Then, as he stood and gazed down at the crowd, Otis took an ax and slashed the rope that was suspending the elevator in midair. The audience gasped. The platform fell. But in seconds, the safety brake engaged and halted the elevator’s descent. Still alive and standing, Otis looked out at the shaken crowd and said, “All safe, gentlemen. All safe.”1 The moment marked two firsts. It was the first demonstration of an elevator safe enough to carry people. (Otis, you might have guessed by now, went on to found the Otis Elevator Company.) And more important for our purposes, it was a simple, succinct, and effective way to convey a complex message in an effort to move others—the world’s first elevator pitch.

Simply by looking at the regulated placement of fire escapes on the sides of residential high-rises, Dakswin could deduce which floors had fewer apartments (fewer would mean larger, more expensive apartments, more likely to be filled with luxury goods) and even where, on each floor, you might expect to find elevator shafts and apartment entrances.

On March 13, 1957, with guns blazing, they exited their vehicles and attacked the unwary guards at the Presidential Palace. Running, the attackers stormed into the dining room and then on to the offices on the lower level, only to find them empty. Since the elevator was up on the third floor of the building, the attackers were momentarily stymied. Although they had previously studied a floor plan of the palace, they became disoriented, perhaps from the intense fighting that had already claimed about ten of their number. An equal number or more of the president’s elite guards also lay dead on the presidential grounds. For a moment those attackers still alive had difficulty in locating the grand marble staircase to the second floor. Once they did, they were repelled by a hail of gunfire from the guardsmen, now fully aware of what was happening. When Carlos Menoyo was fatally hit on the stairs, Menelao Mora Morales took charge of the assault and managed to ascend to the top of the stairs, where he also was shot dead. About nine men made it to the second floor, but without leadership, they didn’t know where to go from there. Trapped on the second floor, they searched for a way out. The hapless, amateur warriors couldn’t retreat down the stairs where their leaders lay and where the shooting was still intense. Stuck, they didn’t know how to get up to the third floor or back down the staircase and out of the building. Batista was on the upper floor with his family, as the remaining attackers were now being methodically killed. To them the third floor could only be reached by elevator, which was effectively being kept in place at the top of the lift shaft, thus preventing the assault from reaching Batista and his family. Although some few managed to escape during the next few hours, thirty-five of the attackers were killed in and around the palace. A final count revealed that five of the palace guards were killed along with one tourist, who just happened to be there at the wrong time. Only three of the rebels managed to find a way out and escaped.

Alexei wanted to tear the phone from Mike’s white-knuckle grip and throw it down the elevator shaft. He had no idea what the hell Mike’s father had said, but it had turned Mike milk-white, his dark eyes darting around the elevator as if searching for something.

Research using human corpses first began in the 1930's, when Professor Lawrence Patrick first began studying crash impacts on his own body. He quickly discovered that his own tests weren’t enough; and, most likely, that they would kill him if he didn’t stop! In one of his tests, he received blows from a 22 lb metal ball to his chest.   He first tested a human corpse by throwing it down an elevator shaft in Wayne State University, Detroit.

Neagley knocked on Reacher’s door at eight o’clock the next morning. He was awake. He had showered and dressed. He was ready for coffee. The elevator was like a gilded birdcage on a chain, inside a shaft made of filigreed wrought iron. They heard it coming up to meet them. They stepped in. There was a credit card on the floor. Or a driver’s license. Or something. Face down. Dropped by accident, presumably. Not a Bundesrepublik Deutschland identity card. Wrong color. Neagley bent down and picked it up. She looked at it. She said, “You owe me ten dollars.” It

The most efficient accident, in simple assassination, is a fall of 75 feet or more onto a hard surface. Elevator shafts, stairwells, unscreened windows and bridges will serve. —CIA Assassination Manual, 1952

Obi-Wan knew that Vader would never help, and he felt almost overwhelmed by a sense of dread. Luke would soon be dead, and Vader would remain the Emperor’s puppet. In fact, Obi-Wan was so convinced of Vader’s nature that he was stunned by what happened next. Vader grabbed the Emperor and lifted him off his feet. The deadly blue lightning fell away from Luke and arced back from the Emperor’s fingertips and crashed down upon the Sith Lords. Vader carried the Emperor across the throne room and hurled him down into the elevator shaft. A moment later, the Emperor exploded in a great release of dark energy.

Don’t try to aim down the arrow shaft,” he told her. “You have to sense where the arrow will go. You need to see the entire sighting picture—the bale of hay, the bow and the arrowhead. Learn where the arrow will fly.” She frowned. “How do I do that?” “There’s only one way. You practice. Over and over again, so that aligning the shot to the target becomes an instinctive action. After a while, after seeing enough arrows fly, you’ll instinctively know where to position the bow in the sighting picture. As the range increases, you’ll also need to gauge how much elevation you give the arrow—how far above the target you need to aim to hit the center.

No Throat So Deep by Stewart Stafford “I'd like you to meet Mrs Koch-Gobbelaar,” I weighed up the overture long and hard, "I'm licking my lips without drool!" I replied, “Amazeballs!” he said, “Tonight, you'll meet.” We came early, but she didn’t take umbrage, “Spread out all over my ballroom,” she said, She told us how the rooms were hanging, Up the elevator shaft to the top floor and left. Mrs Koch-Gobbelaar made vegetarian claims, But we found her smuggled stash of beef jerky, Her ex-husband split and became a eunuch, He died bone-tired with limp alibis on his urn. © Stewart Stafford, 2022. All rights reserved.

7. Over against this table, near the southern wall, was set a candlestick of cast gold, hollow within, being of the weight of one hundred pounds, which the Hebrews call Chinchares, if it be turned into the Greek language, it denotes a talent. It was made with its knops, and lilies, and pomegranates, and bowls (which ornaments amounted to seventy in all); by which means the shaft elevated itself on high from a single base, and spread itself into as many branches as there are planets, including the sun among them. It terminated in seven heads, in one row, all standing parallel to one another; and these branches carried seven lamps, one by one, in imitation of the number of the planets. These lamps looked to the east and to the south, the candlestick being situate obliquely.

They pulled up to 195 Madison Street - a tall narrow six-story redbrick and limestone-trimmed tenement house indistinguishable from all the tenement houses on all the other streets of tenements. The bars and ladders of a fire escape ran up the left side of the building; sooty stone scrolls, shields, and flowers framed the second- and third-story windows. This was the place where they had to live? Two blocks from the commercial madness of East Broadway; two blocks from the filthy snout of the East River, smelling of fish, ships, and garbage; three blocks from the brain-rattling racket of the elevated train; three blocks from the playground of the Henry Street Settlement; practically in the shadow of the construction side of the twin-towered Manhattan Bridge. Every three blocks they passed more people than the entire population of Rakov. Half a million Jews packed the one and a half square miles of the Lower East Side in 1909; 702 people per acre in the densest acres. It was one of the most crowded places on earth, and all of them seemed to be swarming outdoors on the June afternoon that Gishe Sore and her family arrived. Aside from the crisscross steel girders of the Manhattan Bridge at the end of the street, it was all tenement houses as far as she could see. Tenements and bodies. In every room of every building, bodies fought for a ray of light and a sip of air. Bodies slept four to a bed and on two chairs pushed together; bodies sat hunched over sewing machines in parlors and sunless back bedrooms and at kitchen tables heaped with cloth and thread; bodies ate, slept, woke, and cleared out for the next shift of bodies to cycle through. Toilets in the hall or in courtyard outhouses; windows opening, if they opened at all, onto fetid air shafts; no privacy; no escape from the racket and smell of neighbors; no relief from summer heat or blasting winter furnaces. This was the place her American children had brought them to live?

as well have stuck my fingers in my ears. Warm air blew softly down the hall with a low roar that, coupled with a buzz from the lights and a hum from the elevator shaft, swallowed all other sounds, no matter how hard I concentrated. But that could work both ways. I padded down the hall, noiseless in sneakers. The hall branched to the left several times, forming the bottom end of a T. At each branch I listened intently, then bobbed my head into the hallway for a quick check. I reached the end of the hall. Nothing. Nobody. No Charles Manson or Ted Bundy or Vlad the Impaler. Definitely no Michael Wheeler. I considered for a second. I didn’t know which office I was looking for and could spend half the night checking doors and poking my head into rooms while Amanda might or might not be stuck in an elevator. And if Wheeler was holed up somewhere on this floor, it would be child’s play to sneak up and pop me while I was going up and down hallways, rattling doorknobs. It wasn’t a one-man job and I could afford to wait for backup. My first priority was to make sure Amanda was safe. Quick but cautious, I headed back to the elevators. Halfway there, my cell buzzed in my pocket. I answered. “Singer.” “Detective Singer, this is the dispatcher with the George Washington University police. We spoke earlier. Are you in the Krueger building?” “Yeah,” I said, keeping my head up and watching the doors to at least a dozen classrooms as I continued the walk back to the elevator. “I’m on the ninth floor now.” “Is Ms. Lane in danger?” “I don’t know.” I explained how I’d lost the call. “We’ll need to get someone to override

If I'm in an elevator and it starts to fall to the bottom of the shaft, can I jump up at the last instant and cancel the impact?

who seemed to have grown his afro to new and previously unexplored heights, inspiring Norman Mailer to write that King looked like a man falling down an elevator shaft, “whoosh went the hair up from his head

Plans for running two elevator cars—a local and an express—in the same shaft were being developed by Otis engineers in 1929.

The caption: 42 MEN KILLED CONSTRUCTING THE NEW EMPIRE STATE BUILDING…“THE BUILDING WAS COMPLETED ON TIME.” Starrett responded by going public with the figures: With an average of six hundred men employed in the demolition of the Waldorf-Astoria and with five thousand men employed on the construction of the building, five workers were killed. One worker was hit by a truck as he was sawing a plank; the second ran into a blast area; the third stepped off a scaffold; the fourth fell down an elevator shaft; and the fifth was struck by a hoist. In

Cliff looked around for the woman he’d seen helping the others and saw no sign of her. Swearing, he tore through the wreckage in search of her. An explosion took out more of the ceiling. Rubble rained down on the other side of the pile he dug through. “Come on,” he whispered. “Where are you?” A moan reached his ears, followed by a cough. Leaping toward it, he grabbed slabs of concrete and flooring and tossed them aside, reducing the pile until he found her. Dust coated her like ash, powdering her braid and turning her skin a grayish white. She blinked up at him. Her forehead glistened with blood that oozed from a gash on one side. “It’s okay,” he told her. “I’m here to help. Don’t be afraid.” Her chin dipped in a brief nod. Another explosion hit what was left of the ground floor. Cliff swiftly leaned over to shield her as flaming bits rained down around them. As soon as it stopped, he knelt beside her. “Y-Your eyes are glowing.” “It’s okay. Don’t be afraid. I just want to help. Are you injured?” He swept his hands over her in a quick, impersonal search for injuries, concerned by the splotches of blood that marred her clothing. “Th-there’s a woman,” she said. “Sadie. Sh-she’s old. She can’t make it down the stairs.” “I already got her to safety. Are you Emma?” Surprise lit her dark brown eyes as she nodded. “I think your arm is broken, Emma. I need to bind it.” Tearing a strip of cloth from his T-shirt, he wrapped it around a deep gash on her arm. Then he tore another and—preternaturally fast—fashioned a sling. She moaned. “Sorry,” he said, knowing every movement caused her pain. Nodding, she gritted her teeth. Her lips pressed tightly together as he lifted her into his arms, spawning even more pain. “I’m sorry,” he said again as he dashed over to the elevator shaft. She looped her free arm around his neck and looked over his shoulder. Her hold tightened. “Mercenaries,” she whispered in his ear, her warm breath sending a shiver through him. “It’s okay,” he said. “Don’t be afraid. I’ll keep you safe.

We talk about love like it's an involuntary act. We fall into love, like a hole, a puddle, and elevator shaft. We never step mindfully into love. Love, we seem to think, requires a loss of control; love necessitates that vertiginous giving over to gravity; love wants you to have no choice. Your heart thumps because there's danger and adrenaline in love. You lose yourself in love because you've displaced yourself.

Whatever there is between him and Marianne, nothing good has ever come of it. It has only ever caused confusion and misery for everyone. He can’t help Marianne, no matter what he does. There’s something frightening about her, some huge emptiness in the pit of her being. It’s like waiting for a lift to arrive and when the doors open nothing is there, just the terrible dark emptiness of the elevator shaft, on and on forever. She’s missing some primal instinct, self-defense or self-preservation, which makes other human beings comprehensible. You lean in expecting resistance, and everything just falls away in front of you. Still, he would lie down and die for her at any minute, which is the only thing he knows about himself that makes him feel like a worthwhile person.

We parachuted into an alien city, dropped missiles off a roof, fell down an elevator shaft, played cop, stole a lorry, got flushed down a sewer and then chased up a tree by a monster. On Earth that would be remarkable, but for the Merry Band of Pirates,” he shrugged, “we call that ‘Tuesday’.