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radiojamming · 5 days

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Prompting you for anything with Tartnell

hi i'm DJ and i and i want to write all the missing scenes i wanted to see in the terror.

---

In a memory with no date, they are children. It is a honey-gold day with sunlight playing on the river, a wood-warm scent in the air from the fences around the orchards. John carries Tom on his back down the road from the Burnt Elm farm, the corner of John's mouth still stained purple from the blackberries they picked out of the hedgerow. Tom's fingers are dyed the same shade, and their mother will surely have a few words to say about the stains on their clothes.

But for now, Tom is full, warm, and happy. There is sweetness in his mouth and the sun on his back, his brother to his front, the sound of magpies chattering in the trees around him.

John hums a tune. He's not a particularly good singer, but Tom likes to listen to him anyway. It's a shanty—one that they've heard at the Dockyard when they run down to see their father and walk home with him. Tom thinks it's about ladies; most of those songs are. He tries to hum along, but the sway of John's gait makes him too sleepy to try.

Instead, he yawns and asks, "Can we do this again tomorrow?"

"Sure," John replies, hefting Tom up a little further up his back. "We ought to bring a basket, though. To take some home."

Tom nods and turns his head so his cheek is pressed against his brother's back. He watches the Danbury farm slowly give way to the Simon orchard, and he counts the rows of trees until he gets to the one that was hit by lightning last summer. Eventually, he closes his eyes.

There's not much meaning to this memory. No lessons learned, no part of Tom's life altered. What's important is that John is there—a child, thin, tall for his age, keeping Tom close and safe. Walking so Tom doesn't have to.

No. This memory means everything.

---

They fight only once. Truly fighting; not just the general struggle of being brothers with only two years' difference between them.

Tom doesn't recall his exact words. All he knows is that he's angry. Angry that John keeps himself cloistered in the same job that's slowly killing him, that he exhausts himself day after day to make ends meet without a care for himself, that Tom's certain he'll come home on leave only to find John's headstone beside their father's in the churchyard.

(He's scared; not angry. But it's so much easier to mask it as anger than to ever admit he's frightened.)

But Tom's words are coarse, scoured over with years on the Volage and deckled on the edges with every gunshot or dying wail of a comrade in his ears. He curses in a way their mother would scold him for, but he can't take the words back even as he sees John go milk-pale at the sound.

He remembers only one sentence. The only one that matters.

"You're so selfish," he snarls.

(It's not true. It's never been true. John doesn't know how to be selfish. His life has always been attached to someone else, for someone else's benefit. His mother's, his brothers', his sisters', Mister Sarge's, Jane's. Selfish people don't lose sleep like John has, don't wince when they move their hands the way he does.

But all the other words Tom wants to say don't come out. They change shape, consonants, vowels. They turn into something awful.)

He sees the whites of John's eyes, and as soon as his brother takes one step forward, straightens himself out of his perpetual slouch, Tom remembers how much taller John is.

"Shut your mouth, Thomas," John says. His voice has always been low, a little scratchy like he's in need of clearing his throat.

And never—never has he used Tom's full name.

John takes another step forward.

(Where they are, Tom can't remember. There's a wall of a building. Home? Church? The Inn?)

And another.

(He remembers John's shirt, stained at the wrists. Shoemaker's black.)

And then John's hands are on Tom's shoulders, and he shoves. Tom reels back, catches himself before he can hit the ground. He knows he should step back and apologise. He knows there's so much more he could do or say that could fix this. But he's a sailor, and there's this awful crashing noise in his head that he simply can't quiet. He balls his fists and before he can think clearly, he swings.

At his fucking brother.

(He remembers crying into John's shirt at their father's grave.)

He has to aim up because John's so much taller.

(Remembers John standing under the lychgate into St. Mary Magdalene's, fist pressed to his mouth, biting his knuckles so he wouldn't cry.)

His fist connects with John's upper lip and nose, causing his brother's head to snap back. Something crunches under Tom's knuckles, and his stomach twists in a fierce knot at the feeling. He sees blood—orchard fruit bright red—on his hand when he draws it back.

(Remembers John in bed, gasping with breath that simply wouldn't come. A bloodstained handkerchief clenched in his fist. Their mother weeping as she watched their father dying of the same affliction.)

John doesn't make a sound. No yelp of agony, or gasp, or curse. Just silence. Agonising silence that makes a minute into an hour. Tom only sees him stagger a little, blood pouring freely out of his nose and onto his mouth, his shirt collar.

(Their mother scrubbing blood out of his shirt.)

It drips onto the ground. Slow. Raindrop-heavy.

(The bed linens on the line. A blossom of blood visible, drying in the breeze.)

He says nothing. Instead, he raises his head and sniffs once. Hazel eyes in skull-deep sockets. Exhaustion bows his back again as he nods.

"Alright, Thomas," he says. Another sniff. "Alright."

And he walks away.

(Where does he go? Where does this happen? Tom wishes he knew, wishes he would have run after him and begged his forgiveness. They never fight again after this, but Tom can't shake the memory of his brother's blood on his hands.)

---

They join up together. It's easier this way—two incomes flowing into their house, right when Charlie's on the cusp of joining up as well.

"I can help," says Strickland. He bounces on the balls of his feet as John signs his name in the allotment book. "Mum says she doesn't need the full amount or nothin', but I think Aunt Sarah would like it."

"No," says John, mostly to the book and to Mister Helpman who's watching the whole family scene with amusement. "Good Lord, Stricks. Why would we make you do that?"

"You're not makin' me do nothin', Harts," Strickland retorts. "I'm contemplatin' doin' a kindness, you joyless thing."

Tom doesn't have to see his brother's face to know he's rolling his eyes.

"Well, tell your mum so," John replies, then steps back and gestures to Tom just as Mister Helpman turns to a fresh page. "You're next, Tommy."

Tom walks up to the book and tells Mister Helpman all the details he needs to know. Where his pay goes, to whom, what's the relation, where does he hail from. He watches Helpman's quick hand neatly record every word.

"Sign here, sir," Helpman says.

Behind Tom, Strickland grunts in a way that suggests John has him in another headlock—his favourite method of subduing anyone. "Lemme go, you big oaf!"

"Come now, Mister Strickland," John says primly. "Is this any way for a member of Her Majesty's Navy to behave?"

"I'll show you Her Majesty!"

"That doesn't make sense. Actually, that sounds right obscene." John pauses, just as Tom finishes signing his name. "I'm just sorry, Mister Helpman. He's usually a good boy."

Helpman stifles a laugh and shakes his head. "Well, you lot will surely keep the ship entertained. Now, please release Mister Strickland so he can give me his details."

"You heard the gentleman, Stricks," John says, releasing Strickland who darts forward, sand-brown hair a mess. "Do we need to remind you how to spell your name again?"

Strickland gives him a very unkind gesture behind his back where Helpman can't see.

Tom returns to John's side and grins at his brother. People often comment how they look nothing alike, save for their smile. John gives him a perfect reflection of it now—playful, tilted up at the left corner, eyes squinting in happiness.

"You gonna behave yourself on this trip?" he asks John.

"Of course," John replies. "I have to be the responsible older brother, don't I?"

They laugh.

As if John's been anything else.

---

John starts to get sick in November.

It comes on slow. Coughs stifled in his fist or elbow. A wheeze he can pass off as simply poor lungs struggling in tight quarters with far too much pipe smoke in the air. Begging off early for bed even when they're deep in a game or a book.

Then he falls off a ladder, and Tom knows something's wrong.

John's never been particularly graceful. Uncle Hoar used to compare him to a colt that wasn't quite sure of its own legs. But in the rigging, he's a different creature entirely. It's as though he's waited his whole life to get off the ground, to see the world from some place higher than the world he'd been relegated to. His grip is always sure and steady, his footing secure. Only a few years in the Navy and he's done well by himself.

But it's the ladder—the damn ladder that does it. Just the one to maintain the lamps on deck. Only a few rungs. A few steps. It's not so very far to fall.

(It is. It's only ice and hard wood under his back when he lands. He's in so much pain by the time Tom, Sullivan, Tadman, and two Marines on duty get to him that he can't speak.)

He recovers for a few days in the sick bay until he can stand without wobbling on a weak ankle again. Doctor Stanley gives him some concoction and a few terse instructions. Mister Goodsir diligently follows up a few minutes later to advise on the dosage and how much rest John should get.

John improves.

And then he doesn't.

December comes in with a howling gale that sings in the lines holding the tent to the deck. And it comes with an awful sound rattling up from John's lungs.

It comes with blood on a handkerchief.

(Scrubbing it out of a shirt.)

---

"They say one of the stokers on Terror's got it, too," Tadman tells Tom in confidence. "He's barely conscious."

Tom stares down hard at the floor.

"You don't think he's been sick all this time?" Tadman asks.

Tom's quick to say, "He hasn't. He'd have been sent back by now."

Outside, on the stony shore of Beechey, two men sent by the captains of both ships make note of a particularly flat spot of land. Good for graves, they say.

"He'll make it through," Tom says.

---

In the doorway, Tom watches as Mister Weekes makes measurements of John. His height, the width of his shoulders, the width of his knees side-by-side. As he does, John sleeps fitfully, a pinch between his brows and sweat beading his top lip.

Weekes doesn't know Tom's there. He finishes his work, penning some numbers down in a little pocketbook. Then, he turns and sees Tom at last. His eyes go wide.

"Ah," he says. "Mister Hartnell."

Tom doesn't reply. Anything polite is caught in his throat. He only nods.

Weekes seems sheepish, apologetic. He fights for his words, but in the end only says, "A good evening to you," before walking by Tom.

Tom silently walks to John's side, looking his brother over now with new eyes. His height (for the coffin's length), his shoulders (for its width), his knees (tied together). But his eyes move restlessly under their lids, his cheeks are flushed, his fingers twitching as he dreams.

Then, he jerks away. He gasps, sputters, coughs. His glassy eyes cast about the sickbay until they catch on Tom's image, and immediately he settles.

"Tom," he croaks. Even sick as he is, he manages to smile. "S'dreamin' of 'alifax."

Tom forces a smile and pulls up his usual chair. He hasn't slept in two days, afraid of sleeping through what now seems inevitable. "Were you now?" he replies.

"Mm."

"Which part?"

John closes his eyes and grins. "You much for guessin'?"

"If it's what I think, then I'd rather not."

"Hah." He coughs out a laugh, and Tom tries his damnedest to ignore the rim of red on his bottom lip. "No. I was dreamin' about 'olystoning a bloody deck."

"You were dreaming about work?" Tom asks incredulously.

"Right?" John cracks an eye open. "I'm dyin' in a sickbay and that's what I dream about. S'awful."

Tom goes quiet then. John's never said anything about dying before. Up until now, it's been quiet reassurances that he'll make it through this again. As a veteran consumptive, he knows all the right strategies. He's made jokes about it.

John looks at him, his expression hard to read. If anything, he seems to try to read Tom's, searching his face for something. He clears his throat and looks away. "They plannin' anything for Christmas out there?" he asks.

It takes too long for Tom to comfortably respond. Eventually, "Yeah. Full-on feast or the like." He cringes, but manages to wrangle it into a weak smile. "Don't suppose there's a Goldner's Christmas Meal in one of those cans, d'you think?"

John laughs again, and it crackles in his throat. "I'd love to see it if there was."

"You will," Tom says. Maybe a bit too fiercely, too defensively. It takes him by surprise as much as it seems to take his brother. But he reiterates it, "You will."

"Sure, Tommy," John says. He nods, and a single drop of blood drips out of the corner of his mouth. He doesn't seem to notice. "I will."

---

By Christmas Eve, Mister Goodsir kindly tells Tom and Strickland that John's not doing well. It's soft sympathy, meant to cushion a blow that Tom's felt continually since November.

"He's not taken much by way of meals," Goodsir says. He fidgets with the cuffs of his shirt, apparently eager to do something with his hands. "I've managed with a little broth and some medicine, but he's gotten... Well, he doesn't seem particularly pleased with it."

He's gotten combative, Tom thinks. He's seen John's reactions lately, the way he strikes out at nothing, snarling at the ceiling like something there personally offends him. Tom can only imagine John trying to hit Goodsir as the man feeds him, like a temperamental, colicky child.

Strickland's hat is in his hands, and he's squeezing it so hard that Tom worries he'll crush it.

Goodsir goes on, saying they'll keep him comfortable, try to keep him fed, medicate him as needed.

Never once does he say John will get better.

---

They bury the stoker on New Year's. Tom doesn't see it—no one sees much of anything from the ships, as dark as it is. But he hears about it from Billy Orren.

That's how he learns about the open grave right next to the stoker's.

---

Tom sews a pillowcase. His hands are quick at this sort of work, learned from years of watching his mother and sisters, his aunts and cousins. He's always had a knack for sewing and mending, which is why some of the men on Erebus come to him for repairs. John was always—

John is good at it, too. Shoemaking and all.

He uses his fingertips to crimp the frills around the edges of the pillow, sewing them firmly into place. He's already got some cast-off rags and such to stuff it with, provided by some of the other Chatham boys who felt they needed to contribute somehow.

They've all been to see John—anyone who knew him in any capacity. Any man who didn't know him directly but who hailed from Kent and felt they needed to see their man off properly. Mister Armitage came the night before, offering his quiet condolences to a fellow St. Mary Magdalene congregant.

They paid their respects.

Tom swallows hard, blinks harder, and keeps sewing.

Then he pricks his finger with the needle, hissing at the contact. It stings, and he immediately sticks the tip of it in his mouth until he tastes copper. It seems to spread in his mouth, at the same time he notices the pin-sized droplet of blood on the pillow.

He stares at it for a long while as the bow of Erebus creaks and groans around him, as the sound of men enjoying the New Year carries down to his ears, as blood spreads across his tongue.

---

He doesn't want to remember this.

The high pitch in his ears, drowning out the ship, the Arctic, the world. His heart rampaging in his chest, throttling itself against his ribs like a prisoner. Tears ember-hot in his eyes.

No.

No, he doesn't want to remember this.

(He remembers it in sections now.)

The grief—

(John, still. Cold. Bloodless.)

Good God, the grief—

(Hands cold in Tom's. Unmoving. Callouses on his index fingers and thumbs from all those years of work.)

The way he cries out to nothing, to no one—

(Lips still, but slightly open. The barest shine of his teeth. Like he got caught on his last breath and forgot to shut his mouth after.)

The way his knees hit the floor—

(The blankets are damp with the sweat of a dead man.)

The way his whole body shudders, wracked with an animal noise—

(He can't look at his brother's face.)

And his forehead in his hands, like he's trying to hold himself together—

(Or the blood on his clothes.)

---

Tom shaves John's face. Orren trims his hair. Strickland cuts his fingernails. They wash him down, quietly trying to find something to joke about.

"God, remember when we were in Plymouth together?" Strickland says. His voice wobbles as though he's caught on a laugh and a sob. "That whole time he was trying to get Betsy off the breakwall. Like watchin' someone try to get a cat out of a tree."

Orren snorts and trims a piece of hair from behind John's left ear. "I heard about that," he replies. "The same time he fell in the water, yeah?"

"Absolutely," Strickland says.

"I'd have paid good money to see it," Orren goes on, brushing the hair off John's gansey. "This poor scrump absolutely soaked like a drowned rat."

It's easy to disguise a sniff as a laugh. "He's hardly a scrump, mate," Tom says.

"Eh, it kept him humble to say so."

They keep working in silence. Tom carefully shaves away the last of John's dark red stubble, the only part of him other than a smile that he shared with his brothers. He's clean-shaven save for some whiskers on his chin that he would no doubt be damned to see off.

Quietly, Strickland says, "I think he looks right proper, eh?"

Orren agrees. "Hardly a sailor no more. Looks more a'like one of those ponces in the high parish."

Tom silently agrees. Something about seeing John like this—shaven, trimmed up, relaxed—it almost doesn't look like him. For a moment, Tom thinks of what his brother would have been like if he'd been born anywhere else, to anyone else. If he'd just had more of a chance to be a child, to have a job he didn't hate and only find one he loved when it was far too late.

He hears Strickland sniffle beside him, and he wonders what he must be thinking. Of all their cousins, Strickland looked up to John the most. Proud to share a name with him, to sign his name alongside his, eager to follow him anywhere.

And now this.

Tom clears his throat. "He's to be buried in the morning," he says. "Sir John wants to say a few things then an' have a proper service."

"Feels wrong to just leave him tonight, though," Strickland replies quietly. "Should one of us stay?"

"No," says Tom. "I need— We need the rest, I think."

"Right," says Strickland at the same time Orren says, "Of course."

---

Fucking Christ, he doesn't want to remember this.

He sees his brother's chest open, blood bright on Goodsir's hands. He sees—

A heart.

His brother's heart.

Gore has to hold him back—

(Graham Gore, handsome and proud and practically glowing on the deck of the Volage. "You're a good man, Mister Hartnell," he'd once said.)

Restraining him by the chest, pinning his arms behind his back. Someone's hands are on Tom's shoulder, and someone else is yelling in his ear.

He feels delirious with it. The sight of Goodsir holding his brother's innards in his hands like he's simply been playing about in his chest. Oh, look what I've found, he imagines Goodsir saying. A liver. Ought we check if he drank overmuch?

Rage now.

(Not fear.)

Pure, bloody fucking rage.

(What could he be afraid of?)

He gnashes his teeth and wails. He snarls. He begs. He tries everything he can just short of clawing his way past all the men holding him back to shove the doctors and surgeons away and let his brother fucking be.

("They say men don't go to heaven if parts of them are amiss.")

Then he's on the floor, half-compressed under Gore's weight as he bodily holds him in place. "Hartnell, I know. I know," Gore says into his ear.

(Which Hartnell? he wants to snarl.)

"It has to be done. You know it does."

The person behind him hauls him back by the shoulders, and only then does Tom see that it's Armitage, his own eyes wide and face sickly-pale. He doesn't say a word to Tom, but Tom knows he's just as appalled. Only he's trying to keep Tom from getting a lashing or worse for acting out like this.

Tom moans in agony, the weight of this crushing him. He's steered away, the last sight of his brother open on the table like he's nothing more than a specimen to be studied.

Blood on the fucking linens.

---

Tom feels nothing on the day they bury John.

He's spent too much of himself. He feels like a candle guttering on its last supply of wax. Just smoke and air, now.

All he thinks to do is help cover John up a little more. His shirt, monogrammed, dated, wrapped around John like it'll keep him warm in the grave. That maybe something will change if he carries Tom's name on him to wherever it is he goes.

("They say men don't go to heaven—")

He doesn't hear Sir John's service, or the words of sympathy the officers give to Tom. He hears them say how John was a good man, and Tom wonders how they could possibly know that. How could men who scarcely leave their comfortable bedrooms and wardroom, who grew up in gilded halls with servants and cooks who made them wholesome meals that no one had to share—how could they know?

That's uncharitable. They're being kind.

But they don't know how this feels. The sensation of a heavy stone in his hand that he has to throw onto the navy-blue coffin lid, listening to the sharp tock as it makes contact, resounding in the half-filled hollow below.

He hopes to God they never have to bury one of their own.

---

Much happens after. Too much, too quickly. The world ends. A gun goes off.

Nothing happens at all. Not in this part of the world.

---

"Go be with your brother now."

---

John is carrying him back up the knoll. The air is summer-sweet, birds singing in the morning air. It rained last night, and John leaps over puddles while Tom shrieks in laughter.

They get to the hedgerow, still dripping with rain. John carefully lets Tom down and hands him the basket. "Remember to mind your fingers, Tommy," he tells him.

Tom eats more berries than he stores away. They stain his mouth and fingers again, and when he looks at his big brother, he giggles at the sight of berry stains on his face as well. They laugh together, their smiles identical.

When the basket is half-full, John pats Tom on the shoulder and motions for him to hop up on his back again. "Let's go home," he says.

#amc the terror #terror blogging #hartnell brothers #thomas hartnell #sorry this got SO LONG #big character study but also a study on love and brotherhood and grief and aughghhghh

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