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Angelus's Journal


Angelus's Journal

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9 entries this month
 

“'Five minutes...”

14:19 Apr 28 2005
Times Read: 1,106


“'Five minutes...”



It’s dark and damp with a clammy precipitation of moisture that clings to your skin.

And it isn't that there’s no light, it’s that there isn’t anything, or anyone around me that is visible. Silly? 1 know, but each to their own.

Yet here I am and as I was saying, this alley is dark, dark and dank.

Although, there is light ahead of me; and I think, yes, it is a streetlight.

So, I continue to walk, albeit nervously.

I’d wanted to keep in the shadows, as safety from the dark things, I know are there, just waiting for me, to get me.

But, there are no shadows; it’s dark, except for ahead of me.

And I know the evil things are there; I know they're waiting, somewhere; and my breathing quickens somewhat

The light nears in but a moment that seems eternal.

My pulse is fast, I know it, I'm aware of it.

Time is moving and I'm sure that this alleyway is closing in on me, I'm sure of it.

And that sounds stupid, I know; but, there you go – that’s what my mind is dwelling on.

As fog swirls round my ankles. Fog - that coats my lungs, filling them and making me cough.

Thankfully, the light is nearer now; and I'm sure I see the street ahead; where the bus stop is –

which I use, traveling back from my confidence class.


COMMENTS

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I hope someone likes it!?!

15:47 Apr 26 2005
Times Read: 1,111


This is pretty well the first story that I wrote.

It was a wsd file. Now its a doc file.

Now it is here ... I hope someone likes it!?!





The People Spotter



The train ran from Liverpool Lime Street to Euston Station, London.

He was dressed very smartly; a large black coat, atop a dark serge suit. On his head was a dark, low-crowned hat that was tilted to the tip of his nose.

He was Senior Physics teacher in an inner-London boys comprehensive, whose pupils were mainly Muslim: hence the schools single sex status. Forty-five and balding, he had drunk his scotch and lemonade, an endless diatribe pouring from his lips.

“I’ve been to Liverpool before. Oh I’ve done lots of travelling, but I’ve never been to Liverpool. Now, with my friend dead I went … to his funeral …he was only thirty-five, you know …?”

The young coloured girl sitting opposite had, it seemed, listened to this endless detritus with apparent ease, accepting with grace the cigarettes that were offered and declining the drink that was also on offer: in favour of a joint which had helped to further establish what had become an easy rapport.

The girl’s hair was long and worn in Rastafarian style dreadlocks: and, on her face she wore a look of seemingly benign nonchalance.

“No thanks – but, thank you anyway,” he had said in his refusal of the proffered joint, “although; in the sixties, when I was a lot younger …”

I had easily picked up on the mention of age.

He girls’ smoke giving me camouflage I lit up a one-skinner, taken a strong pull and had sat back to listen to this unusual couple who had piqued my curiosity.

As he starting speaking, my Henry Higgins figure had removed his hat and wiped his pate clear of sweat.

“Yes,” he reminisced, 2the sixties were a time of such change …”

Rapt, the girl had shifted her backpack and leaned forward attentively.

“The music … the times … the pill.”

“The pill?” The girl had queried.

“Yes my dear,” the man replied, “… the pill.”

He leant forward in am almost conspiratorial fashion as he uttered the last two words.

“It was the pill that revolutionized sex during the sixties.”

So, that’s were this man was taking this conversation … what with all his talk of his best friends funeral, his first trip to the ‘Pool … his travel an all.

Here was a man who was lonely; who had found a young lady to listen to him and now was talking, just talking.

He had talked of his travels, his marriages and now he had got round to the subject that at one point or another we all end talking of.

“… a reliable contraceptive. It was the first 100 per cent meth …”

“Eighty-nine per cent!” I hadn’t bee able to resist it, the guy was just so crass, sad, but crass.

Yet, after throwing a curve ball to queer the professor’s pitch I had shut up and sat back, to watch and listen.

He really was good.

Brushing aside my interjection, as if it were the flitting shadow, the professor carried on speaking: “They were good times … but oh, I was so much younger then.”

His eyes misted and he gulped down his whiskey.

‘Good ploy,’ thought I … pity.

The young black girl smiled, a hint of dimples to her cheeks: “You’re not that old.”

Her fingers touched the back of his glassless hand, and as they talked on they did so in hushed tones.

My interruption had not overly disturbed those two, it seemed.

‘Euston’ – the sign had read.

As I had got my bag together I scanned the compartment for the players in my little drama …

The girl, wearing combat jacket and bots had pulled on a heavy-looking back-pack.

The ‘professor’ was adjusting his hat, then scarf and finally his coat; each in an ordered, very meticulous fashion.

I had disembarked from the train, my senses alert to a different environment.

The ‘newness’ of was an almost tangible thing … - the newness of ‘the South’ - an alienation of ones self within a new setting.

Once past the ticket inspector, the man in the black coat had turned left, to head towards the entrance to the underground.

The girl did not.

The girl walked straight ahead: on and out of the station.

But, I saw them hand in hand.

I saw them how it should have been: how it would’ve looked right.


COMMENTS

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One Night at The Club

12:09 Apr 19 2005
Times Read: 1,116


One Night at The Club





Introduction:



One’s memory is fragmented at the best of times and when you think back to certain events, it is rarely in a linear fashion.

So it was, when he thought back to the past and a time when they had little, but one another and that’d been enough, for him.

It wasn't as though he didn't think of the good times: he just found the bad much easier to recall, because of the emotional impact that they’d had upon him.

Yet societies conventions dictated that as a man he shouldn't feel as he did, but that was impossible. There had been a time when his had been the way of the macho-male, when he'd been cold and quite unfeeling...

But, that was before, whilst this was now... his heart had been torn from him and he felt bereft at its loss.





* * *





Early in the evening Aaron had decided to go for a walk.

As he’d prepared to go out he pressed play on his tape deck: and Thin Lizzy blared, loud, 'as they should be heard,' he thought.

Then when the album had got to the track 'Don't believe a word' he'd thought of her.

When he’d heard the lines, "'Coz words can tell lies," he turned off the sounds, even though he wasn't ready to go out, yet.

What he'd heard was too near the mark - he didn't want to hear anymore.

Standing in the centre of the flats main room, wondering where his keys where, he turned slowly, thinking. She was everywhere. He had to get out.

Then, stepping onto the street, he’d mused, "this is probably as good as it gets."

There’d been a clear sky and the only star visible so far, the North Star.

He’d listened to the quiet walking toward town.

Looking up he’d seen dark clouds in the sky moving rapidly toward him.

Then feeling droplets fall on his forehead he’d looked upward, as it began to rain a fine drizzle that quickly soaked his clothes.

'Perfect,' he’d considered, 'just perfect. S'pose that sets the seal on the night?'

He had heard and disliked many of the various helpful platitudes that'd been heaped upon him. Things like, 'time heals and 'you can move on.'

But they irritated, because he’d wanted to know how could he move on and let time heal, when he didn't want to do that? He couldn't, it was as simple as that.

And, although Aaron felt the urge to cry, he could not, as he had cried the last of his tears away, such a long time ago.

People, he scorned them all, especially those who smiled, as they walked hand in hand together.

Although he’d left the flat, Aaron hadn't left the memories behind, which annoyed him, aware as he was of how he’d decided to live and the path he'd chosen: a social-pariah, the self-absorbed baggage carrier, Aaron allowed himself to smile at this self-analysis.

He was after all, his own worst critic, of everything that he did.

Beneath the lean young man’s feet the rain-slick cobblestones provided little purchase for his shoes, so he walked with slow measured steps.

He had taken a short cut, through an alley leading away from the cities bustling nightlife.

Then, from the corner of his right eye watched a couple approach.

They’d passed hand in hand and very much in love, so Aaron thought, feeling jealous as he watched them walk, aware how sad that made him seem.

The rain continued to fall as he’d walked streets that were now almost empty, which suited him. It began to make his coat sodden as time grew by and this also suited him and his current mood. Then, when night had fallen and dim yellow street lamps cast the only light, Aaron sighed, realizing the exercise might be good for him, but the damp was starting to chill his bones.

Yet although he’d sought solace in his own company, the four walls were sometimes just too much, hence the walk. But, her presence filled his mind.

Vengeance wasn't an issue, he'd told himself, walking back to his home.

How he had felt, during that time, way back when, was that the world had been his.

And now, he turned the key, to open the door to his world, where he felt safe and secure, away from all that he cannot trust.

He brewed a pot of fresh coffee and picking up a book, considered his past, once again, wondering whether it had been worth it: unable to vilify the actions of the other; who had left him feeling betrayed.

But it’d hurt so; after all the time and energy invested, he’d considered, as he sat in his worn, favourite armchair.

Setting his alarm clock, so as to be ready early for the next day... he turned on the boob-tube, to ignore all that was outside his front door... and soon, the charms of the flickering light lost their appeal and his tired eye-lids won their battle to close. He was asleep.





* * *





























The Day Before the Night



A lot of people had passed Aaron Mason since he left the house.

‘It's a busy day,’ he reminded himself, ‘my Giro Day and it’s half-day closing.’

And today, he was to claim the money, which the state said he needed to live, which wasn't very much he considered, walking to the post office.

His mind distracted with thoughts of how his benefit would be budgeted he had not noticed the passing young woman's green, brown eyes flash with a moment's recognition as they passed in the street.

In the post office he’d waited patiently in the queue to cash his Giro-cheque. Then with money in his pocket he’d left, to begin the day properly.

First he’d visited the nearest newsagents, to buy a newspaper, tobacco and papers.

Yet, focussed solely on the habit of ‘dole-day,’ his unemployment benefit payment day,

Aaron did not notice the penetrating gaze that tracked his movement down the high street.

Then he did his shopping, purchasing food from Sainsbury's, for the quality, as he appreciated good food; although didn’t cook as much as he used to...

And, as he had mused on his dislike of cooking for one, he did not notice that standing in a shop doorway the young woman who had recognized Aaron earlier.

His routine never changed.

She had smiled.

Next he’d bought his toiletries and cleaning products from the nearby SuperSaver store, as the prices weren't too bad.

She had smiled, as he had left the shop, still unaware of her presence, as she recalled that he still seemed ‘safe’ and reliable, his life structured.

‘Aaron’ ~ even his name sounded strong and noble, to her.

Then, as he’d passed where she stood once again, Beverly wondered fleetingly whether he would ever notice her.

Then after taking his shopping home Aaron had a quick coffee, putting every purchase away in it's in respective home; something he had learnt to do since he has been on his own, as it did make life a lot more convenient, he'd found. Then checking the change in his pocket, he’d said aloud, "Good, I've got enough. There's a drink to be had."

So, he’d boarded a bus, taking him out of town, to the coast, where he sometimes walked the promenade, to enjoy the fresh air.

On the front was a pub and still having some money left Aaron walked in for a whiskey, surveying the quiet bar for anything that could be interesting. There was little to see, or hear though, as it was lunch-time, mid-week and the few patrons in the bar sat quietly nursing their half-glasses, of mild, or bitter, for as long as possible.

He’d drank his scotch on the rocks slowly, his memory on the past, as it often was, when he looked up toward the clock to check the time, thinking, "I don't know why I bother... it's not as if I've got anywhere to go."

Looking around the bar at its customers, he’d wondered if they have lives to lead more interesting than his.

Then smiling he considered they must, "after all, I exist, that's all," he mused sadly.

"You got anything special to do tonight?" He’d heard a voice ask.

Looking up from his drink Aaron had stared balefully at the barman, asking him,

"You mean me?"

"Yeah course," the jovial sounding fellow responded, adding, "gloomy you may look... but, you're alive and this is Saturday night. C’mon. This is your life, not a book."

The barman’s smile had widened as he finished speaking, "Whoa, I'm rhyming... well, at least... half of the time..."

Aaron had grinned a little in response and said, "Yeah maybe, But, you had to work on that one."

"It doesn't matter, the points made, isn't it? You should go out, get out there: see what’s there, otherwise you’ll be wondering, what if, won’t you?"

"Yeah, I guess... well maybe..." the young man muttered, staring into his drink once again.

"Maybe Chris had been right?" he’d mused.

"Maybe I should get out more. What was he had said?"

"It's good! You'll enjoy it. There's loads of totty there."

"But it was a club,' he'd thought answering simply, "It's a club and I don't do clubs."

"Don't be silly," his friend had responded smiling, "you don’t know, you might just like it. You just don’t know"

Perhaps he might, but that’d entail being sociable and not only did he not "do" clubs, he also didn't "do" sociable.

That should have been the end of it, although it had been an evasive answer he realised. But, what else could he say?

The conversation had become irritating and what was worse was that he did want to go out, find company, perhaps even enjoy the odd drink, or two. But, he thought, it was hard to out with one’s guard down and possibly run the risk of being hurt once again.

So, he'd told his friend, "Okay, I'll think about it..."

And that should have been the end of it.

Aaron looked up at the smiling bartender, polishing a glass with a tee-towel, finished his drink and left the pub, to continue walking down the promenade, his mind on what he would do, if he had the money to spare.

A bright sun and an almost cloudless blue sky served to lift Aaron Mason from his usual grey mood.

He still looked around himself, as had become his custom, so distrustful had he become. But, this fine day, his actions owed more to established habit, rather than paranoia.

There was a sigh of a wind, which had caught at his hair, blowing a long dark fringe into his eyes. Aaron brushed his hair to the side, breathing deeply, walking slowly, casually, looking around cautiously, filled with an air of expectation.

Then, as if to break the spell of the moment, a gull, circling overhead, cried, as if in triumph, leaving a deposit...

Aaron had scowled for a moment, before saying aloud, "See, distract yourself, for a sec, with thoughts of how nice a day it is and..."

Looking upward, he’d grinned, pronouncing, "And it drops on you..."

Aaron had turned back to the rail and looked down to the river below, musing, "Where does it come from... ? Where does it go to?"

And removing a white linen handkerchief from the left rear pocket, in his coal-back straight leg jeans, wiped the white discharge trailing down the right side of his brown leather jacket, muttering, "Ah well, they say it's lucky."

Then, having cleaned the mess as best as possible, Aaron resumed his walk with the sun so bright overhead he’d lowered his gaze.

It was as he walked, head lowered and eyes downcast, that he’d caught a fleeting image his brain registered as interesting. So, Aaron retraced his path several paces, to see what he has missed. Incredibly, there just before his right boot tip was what looked like a note, purple and brown, partly embedded between a crack in the roads surface...

Reaching down, he’d picked up the paper and unfurled it carefully; both surprised and delighted, to find that it was what he'd hoped that it would be, a twenty-pound note.

“Hmm,” he mused aloud, “more lilac I think.”





* * *



Then, after his find Aaron had continued walking, deliberating on his good fortune, suddenly aware of how fine a day it actually was.

His mood was far lighter than usual; so much so that he had smiled at the couple walking toward him, their heads inclined inwards, his right hand holding her left.

He considered the note sitting in his front right pocket and smiled.

"It isn't a lot to some people," he’d said wryly, saying it aloud so as to hear how the words sounded, with what could be approximated as a grin on anyone else, "but, it could mean at least a good night out for me. It's not as though I can't afford to spend it,” he told himself, adding, "all my bills are paid."

But, it had been so long since Aaron Mason had been out for the night that he'd forgotten why he had decided to stop doing so anymore.

For a moment he’d thought of the place that Chris had been trying to entice him to try out, sure that he'd said the club was open tonight.

"But I don't do clubs anymore," he’d muttered.

Aaron Mason was indecisive at the best of times, but this was a dilemma.

He couldn’t think of any justifiable reason for staying in tonight.

"I can't believe it," he’d mused, "things like this don't happen to me."

The smile had slipped from his face, as he’d thought, 'this is bad. I've got so used to my lack of a social life that just the idea of going out for the nights got me really worked up.'

Yet, that evening had found him at the biggest of three clubs on the front, nervous and sweating at the mere idea of being around a lot of people.

"I'm not sure about this, just not sure at all," he’d told himself, on joining the throng of people slowly forming a line outside the main doors.

The doorman, who’d been standing at the entrance to the club was a big fellow, dressed in a black zip-up puffa-jacket, coal black jeans and heavy boots. It was the uniform of his trade - an occupation that in less politically correct times would have labelled the man, 'bouncer.'

As Aaron had neared the front of the queue his gut tightened and his pulse quickened.

The doorman wore gold-framed John Lennon glasses, which he’d pulled to the tip of his squat nose. Then squinting, the big man peered at Aaron over his glasses.

He’d smiled and said, "Are you going in dressed like that?"

Aaron realized that he wasn't dressed in the height of fashion, whatever that was. He’d brushed his light fair hair, had a shave and used his Denim aftershave. He’d felt smart and when he'd looked in the mirror, prior to leaving, that's how he thought he looked.

"What do you mean?" He’d asked, a little embarrassed at being singled out like this.

"Well, put it this way granddad, you'll have... an interesting night!"

"But I can go in?" Aaron had asked, hesitantly.

"Sure whatever," the doorman replied, "go in. Have fun."

He’d smirked, as Aaron had blushed.

"Er, thank you, I think." He'd responded, quickly walking past the big man and through the heavy fire doors, into the club.

He’d walked through the foyer where he paid his entrance fee and had the back of his left hand stamped with a smudged, barely legible Chinese dragon, within a circle.

The sound of the dance music assailed his ears as he’d opened two swing doors and Aaron had walked quickly to the bar, with his mind bent solely on the acquisition of the necessary Dutch courage needed to stay in such an alien environment: albeit only for a short while.

Yet, it had been with concerted effort that he’d pushed through the surging mass of people, many much younger than himself.

Finally, much as an arrow finds his target, Aaron found the bar and the barman, who had smiled brightly at his approach.

He’d worn a tee-shirt with the club’s name and logo emblazoned across the chest.

As he’d poured the requested whiskey, Aaron glanced to either side of himself, feeling conscious of the youth of the people around him and reflected in the mirror, as he bellied up against the bar, grasping at the edging, his knuckles white.

He’d been nervous of being amongst so many people and wary of the eyes of others watching him.

Then, with drink in hand Aaron found a 'spec by the wall where he could watch and assume what he considered a cool stance: leaning with his upper back against the wall, feet crossed at the ankles.

As Aaron had watched he’d seen through the mask that each of them wore.

He observed the meat-market, as young women paraded themselves for the young bucks, vying with each other for their attention.

Aaron watched the young males strut and preen themselves, like male Peacocks, he thought; as they hoped that their look would be the one that caught the eyes of a possible mate, for the night, or perhaps longer; whilst the women in turn seemed to lap up their behaviour and encourage it.

He’d begun to watch one young man, slim built, with fair hair, whose posturing had paid dividends, it seemed.

The object of his attentions had been a young lady of Latin extraction, with long dark hair, worn with a red elasticised band drawing it loosely together at the nape of the neck.

Her eyes had danced with energy as she had sensed his interest.

She’d accepted a drink, turning away from her friends with a toss of her hair and Aaron smiled as she touched her admirers arm as she’d sought to make a point during their conversation. Her flirtatious manner amused him as he’d noted how readily the young man revelled in her attention.

She’d pointed to her empty glass and he’d taken the hint, leaving her to buy another.

"He might learn." Aaron had muttered, sipping at his whiskey.

Borne of his own experiences, his cynicism was not a trait he relished.

Aaron had wanted to be proven wrong, yet was not surprised when the young woman returned to her friends, drink in hand, completely ignoring the attentive young man, who’d stood alone feeling humiliated in front of his peers.

"He might learn." Aaron had muttered again, looking away from the scene and toward the dance-floor.

Most were female he noticed, aware they are being watched and enjoying it.

There was a lot of flesh on display from those dancing and Aaron turned to briefly glance in a mirror at how he was dressed, before seeking the sanctuary of the bar once more.

The scantily-clad young people have made him suddenly very aware of everyone of his thirty-five years and he'd smiled at his reflection, considering, 'Perhaps I am just a tad over-dressed for this place.'

It was the discovery of the twenty pound note and his friends suggestion that he 'get out' that had brought him to this club and since his entrance he'd avoided eye contact with anyone: he had found himself stood at the bar, drink in hand, occasionally looking around himself, still apprehensive at being there, whilst wanting to be there, for the distraction from the everyday, if nothing else.

Moments after he’d returned to the bar a young woman had taken her place at his left.

She’d heard him ordering his drink, a scotch and said to the young man serving their end of the bar, "I'll have the same... as him."

Then from the corner of his eye he’d become aware of the slim young woman to his left, whose gaze seemed to be fixed intently on him, which made him even more nervous. He’d found her interesting though, as she’d she surveyed her surroundings in the same way he did, scanning for any possible threat.

Continuing to glance surreptitiously to his left, between sips, he’d drunk his whiskey, noticing her eyes, the most striking blue green he'd ever seen, staring at him with an intensity he’d found difficult to comprehend and that had disturbed him.

‘She stares likes she knows me,’ he’d thought.

"Don't look over again," Aaron had muttered, half-hoping that she would.

"I'm your worst nightmare young lady, the bitter ex of a girl who'd told me that I could trust her and that she 'wasn't like all the others.'"

His was a happy world.

Then, she’d caught him staring at her and he knew it.

"I haven't seen you here before," she said aloud.

‘She's talking to me, I know she's talking to me,’ he’d thought in a flurry, panicking at the thought he had to respond to her statement, so didn't, choosing instead to remain stoic.

She’d found his disinterest quite alarming at first, but then this was quickly displaced by arousal.

She had expected more of a reaction to her approach than she found and considered his lack of a reaction to the attention shown him quite enticing and somewhat of a challenge.

She wanted him ‘and soon,’ the young woman had considered, ‘he'll realise that he wants me as well.’

She’d noticed the earring he wore in his left earlobe, a yin-yang design and had touched it surface gently with a curious finger, asking of him, "You know what it means?"

Aaron had turned at her touch, surprised to find this young woman still by his side, surprised to hear her tell him of a symbol that was important to him.

"Man in woman, Woman in Man. Bad in good, good in bad."

Aaron hadn’t been able to resist flinching at her touch: at her words.

Smiling gently, Beverly had asked, “Are you scared of me?"

"No," he had replied defensively, "me? Why should I be?" He’d asked hurriedly, words slurring one into the other.

"No reason."

"Good," he’d answered tersely, downing the rest of his drink and turning toward the bar to order another.

She’d taken his left elbow and turned him toward herself and in a mock Scouse accent asked of him, "So, are you dancing?"

"No," he’d told her sullenly.

"Why come here if you're not going to dance..." she’d expanded, still holding his elbow and guiding him to the dance-floor, where she took his other hand and led him in movement, to match the beat of the record.

He’d been stiff in his movement at first, until she’d taken both of his hands in hers and looked into his eyes, saying, "Just feel the music... move with it..."

Smiling, he’d looked at her as they had moved: and as one record flowed into another they’d stayed on the dance-floor, intent on being with one another, allowing the rhythm of the music to govern their motion.

"Okay, first time out in a while," he’d mouthed, close to her ear.

"Pardon?" She had replied.

"Tell me, is it always so...?" He’d begun, frowning.

"Noisy? Bright? Energetic?" She prompted, laughing.

Finally he’d said to her, "Crowded! Is it always so crowded?"

She’d looked at him and saw that he felt out of place: it hadn’t been hard to tell – as his blushing and the sidelong glances around, to see if he were being watched, had been a giveaway.

Scanning the crowd she looks around, before gaining his attention by glance.

"I see a free table," she’d told him, indicating a small circular table with a couple of chairs on the outskirts of the dance floor.

They both sit, facing one another.

He tells her, "You dance well."

"Why thank you kind sir," she’d responded.

"I haven't asked your name." He’s said, with his face close to hers, so he could be heard over the music.

"No you haven't, have you?" She’d countered, grinning.

"Okay then, what's your name please?"

"Beverly."

"Well Beverly, I'm Aaron, would you like another drink?"

"Yes, I would, thank you. But, no more shorts. Please?"

"Okay then, what would you like?"

"What are you having?"

"Bitter. The lager here's like a knat's been overhead."

She’d run a hand through her hair and smiled at his remark.

Then as Aaron stood, she’d said to him, "Okay, bitter it is."

"Pint, or half?" Aaron had enquired.

"Pint of course..."

"Okay," he replied, turning and walking across to the bar, which was heaving with people.

Finally Aaron had been served and he returned to their table, with a small tray with six pints of bitter on it.

"That's it," he’d announced, "I'm not getting up to that bar again."

"You don't come out that often, do you?" Beverly had asked him, as she watched him look anxiously around himself.

"Er, no I don't," he’d replied.

"Why?"

"Long story..." He had explained, trying to dismiss the story that he feels sure that he'll be telling, very shortly.

"Well, I've got till two a.m. or so..." she’d assured him, smiling broadly.

Slowly he’d begun to tell the young woman, over the first pint, how he had been quite unceremoniously dumped for a younger model; then, over his second pint, he’d found himself explaining that what had happened had left him wary of placing trust in another person again, so he didn't go out.

As he’d spoken, Beverly had placed her hands on his, to illustrate that she was listening, which pleased him. Then, once he had finished talking she’d told him of a relationship turned sour, hers, to reciprocate this intimate discourse.

Oblivious to the people around them, Aaron had smiled, touching the back of her right hand gently, as they had shared their past angst.

She’d matched him drink for drink as she talked. Then as she had finished telling her tale, Beverly placed her hands on the table, pushed herself erect and announced in a slightly slurred voice, "I'm going to the toilet."

“Okay,” he’d told her, watching her wobble a little as she’d walked to the Ladies toilets.

While his companion was absent Aaron looked around himself, at the dancers and their admirers; at the young bucks standing by the door, eyeing up 'the talent' that they're too drunk to approach, without looking completely idiotic. So, instead these bucks insult everyone who isn't them and isn't slowly drinking themselves to oblivion.

Aaron had been interested to note these young men also had their female counterparts, who sat at tables making comparably catty remarks out their fellow club revellers.

"Well, at least I'm with someone who seems to listen," he’d mused, watching Beverly walk across the dance-floor toward him, looking much brighter than she had and he’d asked, "You feeling better now?"

"Yes," she’d told him, sitting down again.

Once comfortable, she’d steepled her fingers together, with her elbows on the table and told him, "I had my break up 'bout a year ago. I stayed in, like you, for a couple of weeks. But, I'm glad I started getting out again. I feel as though I wasted so much time."

As she’d spoke, Aaron stared deep into her eyes, thinking how beautiful they were and finally he’d said what she had so wanted to hear from him, "Okay then, your place, or mine?"

Beverly had wanted him since she had seen him earlier and now they were promised lovers and that thought pleased the young woman.

"Mine," she’d told him, "I've a cat who'll kill me, when I get home, if he isn't fed soon."

"Well," he teased her, a finger’s light caress to her right cheek, "we can't have you eaten, now can we? So, I suppose it's your place then."

He had held her hands, as they stood apart, then, "So, where is your place?"

"Edge of town," she had replied, lifting his right hand to her lips with her left:

"I live in digs."

"You a student?' He had enquired.

"Sort of,” she answered, a smile on her face, "a student of life." Then, she kisses his fingers, with moist lips.

"Now," he started, "What, I might ask, is a 'sort of student?'"

She had blinked several times beneath the intensity of his gaze, as the man waited for her answer.

"Later..."is all she’d replied as a young woman collecting glasses tapped her on the shoulder, having said to them, "time to go."

The two had stood reluctantly, smiling at one another.

Other than the bar staff, Aaron and Beverly had been the last patrons to leave the club, neither had wanted their evening to end, equally apprehensive about what the rest of the night would bring.



* * *





The doorway to the club was recessed several feet away from the pavement.

When the last employee had left the building he keyed the alarm and locks the door, before drawing down the heavy roller door and bolting it home either side.

Then quickly he’d run across the road to where his car was parked.

He’d opened the door, sat in quickly and as the car pulled away from the kerbside Aaron looked closely into Beverly's eyes.

It had been dark and raining and although there was a chill in the air, neither minded, this moment was theirs. They had each other.

"We're alone now," he stated simply.

A fingertip lifting her chin gently upward was all it took Aaron to bring her eyes to meet his, as her skin flushed and her pupils had widened.

Mouths came closer and then, their lips met, with arms wrapped round one another and eyes closed, their tongues searched. Then they parted, somewhat breathless.

Blushing a little, Beverly looked down, saying into his chest: "That sounds nice."

She’d lain with her head against his breast, smiling as he held her, as the minutes passed and the rain continued to fall.

"I can hear your heart..." She’d told Aaron in a quiet voice, her fingertips just inside his shirt, brushing his flesh.

"Er, I'm getting cold..." He had suddenly announced.

"I can tell..." She’d told him in response giggling a little.

Beverly had found his nipple, erect with the cold.

"Er... yes," he’d mumbled, then added, "So, where to then, yours, or mine?"

"I live not far from here," Beverly informed him, sliding her arms around his neck.

As their lips met, each of them had closed their eyes.

Then Aaron reached to his neck and unclasped her hands, before taking Beverly's right hand in his left and squeezing it gently, said to her, "Well, it looks like the rain's showing no signs of stopping. Shall we go now then?"

They’d left the clubs entrance and its relative sanctuary from the elements; and the rain had soaked the couple, as they ran laughing up the road, toward her home.

They had met, this was their now and the rest of the night was yet to come.



* * *



The Day After the Night



"Coffee?" Beverly asks.

She had noticed that he is awake and smiling, as he watches her sit with books on her lap and small half-frame reading glasses perched on the end of her nose.

It is now mid-morning.

"Wow," he exclaims, "and I actually do get a coffee."

"Sarky!" Beverly responds, swinging her slim legs around to the side of the bed and shuffling her feet into a pair of pink low heel fluffy mules.

Noticing Aaron stare at her footwear Beverly asks, "What's so interesting then?"

She bends at the waist, to pick up his shirt from where Aaron had dropped it the previous night. He smiles, admiring her taut, well-shaped buttocks and drawls, "Nice slippers, excellent view..."

In the doorway she turns her head to look at him from over her left shoulder.

There is a smile on her face.

"Tell me," she purred, "do you want to drink your coffee, or wear it?"

They both laugh, before she left the room.

Folding his hands behind his head Aaron closes his eyes, just a moment and within seconds he is asleep again.

He wakes bleary-eyed, as she calls, "Coffee? Toast? Or?"

Sitting, the duvet fell to his waist and momentarily he feels a little embarrassed at her seeing his body. Aaron smiles.

Rubbing at his eyes with the backs of his hands he looks to the bottom of the bed, where she stands tray in hand.

"Coffee, tea, or... me?" She asks this time, a little impatience in her voice.

He finds her manner and the question quite disarming and didn’t answer; instead he’d puzzled as how his shirt could look so good, acting to emphasise her shapely legs.

She set the tray down, saying, "How do you like it?"

He tried not to smirk and failed.

"Coffee." she emphasised, chastising his deliberate misunderstanding of a simple question with a frown.

"I didn't know whether you took milk, or sugar,” she says, adding, "So I brought both."

Beverly spoke hurriedly; surprised she should feel quite so self-conscious.

"Thank you," he responded "but I prefer it black and strong, with no sweeteners at all."

Then Aaron asks, "What time is it?"

"Er, it's..." she pauses, thinking she was being silly; then answers, "It was about ten past eleven, ten to fifteen minutes ago, when I was making this."

He finishes his coffee and sets the mug down on the floor by the side of the bed.

"Thanks for the coffee, it was really nice."

"Humph," Beverly snorts in reply.

Aaron says quickly, "Hey, I was telling the truth, I liked the coffee."

Momentarily very quiet, she says after a moment or two, "I brewed it fresh. I woke up before you."

She begins to walk toward the door, then to the window and back again, until finally Beverly stands before the small gap in the curtain.

"You don't remember do you?" she asks him, abruptly.

There is silence after she finishes speaking.

Then Aaron sighs, with resignation.

"Bev?"

"Beverly!" She snaps back.

"I do remember last night you know. We talked about a lot then."

"Yes that's true," she concedes. "But, maybe that was because you were trying to get into me?" She added.

"I did though, didn't I?" Aaron states, immediately regretting having said it.

"Men!" Beverly explodes, "That just proves what I'd thought, you're all the same!"

"Hey, that's not fair!" He protests, adding quickly, "Besides which, its inaccurate..."

"Why?" She asks, calmer and quite curious.

"I hadn't gone there last night to tap off..."

"Then why did you go?" Beverly queries.

"Because I had the money and the four walls were killing me..."

"Oh," She says quietly, struck by his honesty.

She looks at the world, through the gap in the curtains.

"But, that's not really important," she adds, a trace of annoyance in her voice, "I'd meant that you don't remember me, do you?"

"You mean before last night, don't you?" He enquires quizzically.

"Yes, that's right..." she replies, with enthusiasm; adding, "Well, do you?"

With furrowed brow, he brushes his long fringe back in place and stares at her face, intently. Aaron pauses, looking for what to say next, that wouldn't cause further offence, as he’d decided that he really liked her.

Finally, after several moments of silence he answers, "If I say 'no' does that mean I don't get breakfast?"

"That's not a straight answer."

"Er, do I have to be honest?"

"Yes."

"Then, no I don't."

"And I thought you might have, after getting to know me, again."

She sits on the end of the bed, her weight on her right hand as she leans forward, "I'd seen you during the day and when I saw you in the club I had to talk to you...

"Why?" He asks, intrigued.

"At school, I used to..." Beverly began, her head lowered, cheeks suffusing with blood.

"School?"

"Yes..." she says lifting her head a little, to look at him.

Looking down, he murmurs thoughtfully to himself, "School?"

He looks up again, saying to her, "That was awhile ago you know, a long while ago."

"You left in '76... I remember that," she declares, quietly.

"You remember that?" He responds, surprised.

"Yes," she admits, "I was a second year and..."

Beverly stands and walks to the table with the tray on. She pours coffee into a mug, which is handed to him, then one for herself, which she puts milk and one sugar in.

"Er, you were a second year...?" He asks, sipping at the hot drink.

"Yes," she answers, sitting once more on the end of the bed with her own drink in hand; "and I remember you, so well."

"Why?" He asks incredulously.

"I'm not too sure." She says quietly.

Then standing once more, Beverly walks toward the curtains and draws the drapes apart a little more.

As bright light shafts into the room, causing him to wince, she says slowly, in a faraway voice, "But, I do recall seeing you in the school-yard and thinking how much I wanted you to show interest in me. Huh, I even remember that I'd joined the school choir and the debating society, just because I'd wanted to be near you..."

She turns toward him and says quietly, "you were always so apart from the crowd. An individual. And, well I..."

Then she adds, "I thought you'd understand me."

"But I never noticed you, I'm sorry. And now this'll make things even worse, I know. But, I don't even know your surname. What is it?"

"It's Cox."

"Hang-on, I knew a Billy Cox. Not too well, but I knew him."

"He was my older brother..." She muttered.

"But, when we hung round his little sister was small and well... gawky with heavy glasses and..." she continues, as he sipped at the remains of his drink.

"Yes, okay, I don't need reminding," she snaps. "That was me. I've lost the weight. I grew and now I wear contacts..."

"Pardon?" He asks again, truly surprised now.

Still with her back toward him, she answers him, in a very soft voice, "Back then. That gawky little girl who followed you around was me and I loved you, with all my heart."

He swallows hard, then says again, "Pardon?"

"Once more, that's all..." she replied. He doesn't see the smile on her face.

"I loved you, with all my heart."

Crestfallen at this discovery and her admonishment, Aaron frowns in silence for nearly a full minute, before saying quietly, "I never knew."

"Yes, I know that, now," Beverly acknowledges, turning slowly toward him,

She takes his empty mug from him and walks over to the tray.

He watches Beverly pour two more mugs of steaming coffee, silently contemplating all that he has learnt.

"Look," he tells her finally, "You didn't want to be reminded how you used to look, did you?"

"No," she replies, handing him his drink.

"And I needed to be told that you'd been interested in me then..." he continues, "Well, now I'm the one who's interested in you. So please, bear with me, as I've got a question to ask."

"Go on?" she prompts, sipping her own coffee.

"Well, I want to know. Does the fact that I couldn't remember you from back then, preclude me from remembering you now?"

"Huh, what did you say? I'd like to think I'm pretty intelligent..." she begins, smiling a little. "But, I didn't understand a word you just said."

"Okay - fair comment, sorry. But, what I'm asking is whether yesterday could possibly be a pleasant memory, in years to come...?"

He pauses, allowing her to digest what he’s asked and then adds, "If you want, that is?"

"I don't know," Beverly tells him in a flat, matter-of-fact tone of voice, "I told you why you're here. But, that doesn't explain why I should want there to be a tomorrow, for us. I just wanted to know if you were what I thought you were, back then."

"And?" He asks, hesitant to hear the answer.

"I'd thought you were special," she says, her words drifting away, into the furthest recesses of her past, when she'd looked for something, or someone and found a young boy, who couldn't cope with the simple adoration she had shown him.

"That's why I'd trailed after you, like a lost puppy. Like I said, I'd just wanted to be noticed... like I noticed you, in the street and at then at the club."

Mortified by her statement, Aaron notices a wide smile on her face with puzzlement.

"Well that was then and this is now," she tells him, having poured their drinks and walking toward the bed.

Then she adds, "But I'm not who I was then..."

Beverly reaches forward with her right hand to caress the side of his face, saying to him, "It's almost a pity, but what interested me then doesn't now."

"Tell me, what you mean, please?"

"It's simple. I'd thought you were alone and understood how I felt."

"Yes, and?" He prompts.

"Well, since then I've learnt. We're all on our own, no matter who we are, where we are, or who we're with."

Her voice sounds cold. He hears this.

"You sound like my coffee," Aaron tells her, very seriously.

She looks at him puzzled and asks, "What do you mean?"

He looks straight at her, quiet.

Then Aaron smiles, answering, "Bitter."

In response, Beverly takes his right hand gently in hers and their eyes connect.

"I don't know what you mean," she tells him, in a sing-song voice.

"Oh you do,' he suggests, "I'm sure you do."

Their eyes meeting, the flesh of hand upon hand and his answer, all serve to make her smile, once again at a memory.

"Perhaps you are that boy and I'm that girl, but time has passed by and now we're grown up..." Beverly says wistfully, finishing her top-up.

"Yes, but..." he splutters, surprised again.

"But nothing: The past is what it is. Maybe you did understand then, but what is there to understand now?"

"You need company, someone who will listen?" He suggests.

"Yes," she snaps, pulling her hand from his, "but that's what we all want isn't it?'

"Yes it is," Aaron responds, reaching toward Beverly for her hand, adding, "it's what we all want."

She pulls her hand away from his, suddenly annoyed.

"You lot annoy me," she fumes. "You say that you'll be there and then when you're needed..."

"That's it," he thunders, "I've had enough."

He stands, holding the duvet over his body with one hand, reaching for his jeans with the other, as Beverly looks at him, mystified.

"You brought me here and we had a good night, I think. Then ever since I woke up you've given me nothing but stick."

He pulls on his jeans, beneath the duvet.

"Well, I've had enough, simple."

"You seem wound up," she states, smiling.

"Sheesh girl," he counters, "it's you who wound me up."

"All I wanted to do was talk, that's all!" Beverly exclaims defensively.

He stands, allowing the duvet to fall to the floor.

Then Aaron zips his jeans, saying, "You just haven't listened to me, at all..."

"But..."

"And, Ms: Cox, I'm not willing to argue the point anymore."

"It's Beverly... and I just wanted you to understand..."

"Lady," he interjects, "don't you think I've heard enough? Please, don't make me the scapegoat for something in your past."

"Aaron, don't be like that," she pleads.

"Like I said, I think that you've got issues in your past you still need to work out..."

"Pardon?" Beverly explodes.

"I just said..."

"I heard you..."

"Well, when we talked last night I thought..."

"You'd thought," Beverly retorts, "you'd thought... That'd mean that you had a brain-cell more than most men use... and... "

"Hey,” Aaron starts defensively, "I'd thought we were talking about you and I?"

"We were..." Beverly answers.

Then she pauses a moment, before saying, "So, about my past, where did you dig up that pearl of wisdom?"

Aaron stares at his hands, on the knees of his black jeans.

"I could say you were mixing your metaphors," he mumbles, annoyed at having been made to feel guilty for something he had no control over, her past and present.

His grip on his knees tightens and he grits his teeth.

"Hey, less of the sarcasm alright?" Aaron exclaims, standing to face her.

"Sorry," she tells him, in a tone that suggests she isn’t.

"Whoop-de-do, words that's all they are," he's on a roll, his anger having risen and finally he says, "You've talked and talked... almost like you didn't want to hear what anyone else might want to say."

"Like you, now," she counters, very quietly, turning away from him.

Compared to his raised voice, hers is quiet, as she says aloud,

"I think you're over-reacting!"

"I'm what?" he shouts, "I heard that! Me, over-react?"

Then Aaron adds quickly, "Lady, will you take my shirt off and I'll be gone."

"Why?"

Stumped, he looks at the young woman open mouthed, before saying, "Ms... er, Beverly, let me put it like this..."

Aaron pauses, to add emphasis to what he says, "I was a loner at school. Now, I feel bullied and I want to go. I want to be alone."

"You don't mean that really... really?" Beverly asks.

"In one syllable... yes."

"Oh,” she responds, looking to her feet.

He reaches for his shoes and socks.

"So okay, maybe yes, maybe not," he mutters as he ties his shoelaces.

Then Aaron looks to her and says, "I liked you, I really did. But, this... ?"

She hears the sadness in his voice and reaches toward his face.

Then Beverly finds herself both surprised and hurt when he visibly flinches.

"I'd only been looking for that connection," she tells him sadly.

"Yeah," Aaron mutters in response, "aren't we all..."

She hears his words and the tone in which he speaks.

"You did understand after all..." Beverly suddenly exclaims, smiling and adding "you did understand."

Suddenly her face darkens and Beverly began to pace the room once again, suddenly feeling extremely confined.

Aaron sat, aware that he wasn't going to get his shirt back, yet.

Then, in a soft, dreamlike voice, her quietly spoken words are easily heard, as she says,

"I remember that faraway look in your eyes. They said... "

She means to say 'so much.'

Beverly wants to tell him how good it had felt; knowing someone, 'out there' had seemed to understand. But instead, her words drift into silence.

It had all been so many years ago... so many years of 'if onlies.'

Suddenly Beverly steps toward the curtain, pulling them apart.

"It's not fair!" she exclaims, as sunlight fills the room.

"Easy, " he says to her in a gentle voice.

He repeats the word several times, to try and assuage her temper.

Aaron wants to placate her and ease her emotional crisis somehow, but he doesn't know how.

He stands slowly and walks behind her, as Beverly begins to weep silently.

"Hey, it's okay... y'know?" He says, unaware how lame this sounds.

"Words, just words," she murmurs, so quietly he can hardly hear.

Then, she stares unblinking, recalling the pain of the loneliness she'd felt.

He steps forward and very carefully Aaron holds her, holding her gently by the shoulders. She does not flinch at his touch.

"Let go... just let it go..." he whispers gently in her ear.

Beverly stands looking out, her mind elsewhere, still conscious of his hands on her shoulders and how gentle they felt and she recalls that the previous night he had been a considerate lover.

He tightens his embrace just a little, to assure her that he is here, now.

Aaron feels her breathing ease a little, until he asks,

"You could try, y'know? ..." He says softly, adding, "Have you tried?"

"Can't..." Beverly says quietly, then suddenly she turns in his arms, eyes blazing: "'Have I tried?' Of course I have," she spits out, annoyed he should ask, and after all that she'd said.

Now she cries.

And what begins as a tear soon becomes many, as a lot of frustration is suddenly released, all at once.

Her hands, held at her sides, clench into fists and with head looking down, Beverly sobs, from the heart.

"Hey, easy," he murmurs, softly, "I was just..."

"Just what?" Beverly bites.

"Aaron steps closer, carefully enfolding her in his a gentle hug.

It isn't sexual, although the embrace is intimate.

She senses his intent is honest, that he wishes to comfort her and she does not baulk at this display of familiarity.

Aaron feels the beating of her heart and hears the rapidity of her breathing.

Slowly the flow of tears ceases and Beverly relaxes a little in his arms.

"I told you... I wanted to understand..." He murmurs quietly, his chin on her head, which rests on his left shoulder.

"I know..." she sniffles, pulling away from away from his arms.

"I know..." she sniffles again, before adding softly, "I know... But... I was just so caught up in how I felt, I didn't hear you..."

"It happens," he tells her, brushing at her hair with gentle fingers.

Together they look out of the window.

He shivers a little, which Beverly feels.

"Do you want your shirt?" She asked.

"Well, I would say no," he began, "Because I figure it looks better on you..."

'There,' he thought, 'I've told her.'

"But," Aaron continued, "if I'd got my shirt back on and you were warm beneath the duvet, I could go downstairs and make us a coffee, or tea?"

He kisses her neck. Then, slowly Beverly turns, still in his arms.

She wraps her arms around his neck and their lips meet in a lingering kiss.

Then as they part from the embrace Beverly looks to Aaron and smiles.

Then with her head down, she looks up to him coyly, unbuttoning the shirt.

He watches her undo the top two buttons, before asking:

"So, I've forgotten, how do you like it?"

She lifts her face to watch his, as she undoes another button.

"Hot and sweet," she answers.

They both grin.

Then Beverly finishes undressing, before getting back into bed and pulling the duvet up to her neck.

"I'm ready," she announces, in a light almost girlish voice.

He picks up the breakfast tray smiling ruefully.

Then, Aaron leaves the bedroom muttering, "Yes, so am I. But, I'll get the coffee instead..."





Fin.


COMMENTS

-



RainingLove
RainingLove
22:22 May 20 2010

this is my second time reading this one...and i will probably will read it again and agian





 

Can't you tell I watch Scooby-Doo?

15:44 Apr 18 2005
Times Read: 1,116


Product - On The Road







"I've got two half cigarettes, three skins and a blim left ... I think that's trying to tell me something, don't you?" said Neil, looking at the contents of his tin.

"More of a full blown statement, I'd say," pronounces Ged, "and I've got to say that ... "

"Shut up Ged," Neil says, smiling.

"My pad and pen are in my jacket over there," he tells his friend, nodding his head in the direction of his jacket. "And, I'm too busy doing this to take any notes," he adds, nodding to the 'smoke' that he is building.



"Well talking of statements to make, I've got one!" says Chris

"What's that?" several people in the room say, all at once.

"We're gigging tonight!"

"Where?" asks Neil and Ged responds quietly, "doesn't matter, no transport."

"Don't worry," says Simon, adding, "I can help out. I can get hold of a van!"

"Yes, that's it ..." then P. announces, sounding proud, "Product are going off, on the road to ...?"

"Er ..." that's a point says P. "Where's Chris?"

"Er ... Solihull," Chris tells them.

"Okay" says Ged, adding, "I can live with that... just ..."

"Okay ... says young P. dramatically, "Product are on the road to...Solihull!"



* * *



The band 'Product' are on the return from their gig.

And, their battered white transit van bounces down small country roads.

It has been raining hard for hours previous and the branches either side of the lane are hanging heavily, whilst the road surface is oil-slick, after hard traffic had used that self-same road but hours earlier.

The van bounces noisily onwards and up a steep hill that is crested by dense woodland.

And, up high the moon is nearly full.



In the back of the van, on an old Star Wars duvet, sits Simon the roady, next to Cheryl, long blonde hair and blue-eyes, a drama student, along for the 'buzz.' Also sitting in the back of the van were Ged the bassist and Chris, the leader of the band, guitarist and lead singer.



Paul, the bassist drives, whilst sitting next to him is Rose, a petite blonde, wearing lightweight gold-frame glasses, atop a pert nose, who plays Synthesiser, her bleached hair parted in the middle, having short-ish braids that are just shoulder length.





* * *





"Are you up?" Cheryl asks, kicking at the sleeping-bag Simon sleeps in.

"No I'm down," he replies, pulling the top of the sleeping bag back over his head.

"Why?" asks Rose

"Because I'm not playing," he says in a petulant voice.

"You can play guitar, can't you?" asks Cheryl

"No, I'm crap," says Simon.

"Don't insult yourself," says Ged, "that's an insult and self-deprecation isn't a virtue..."

"Simon, virtue? You don't have any," Cheryl maintains.

"See ... that's just what I meant!" persists Ged, calmly and slowly, "I mean, there's always someone willing to insult you, without you beating them to it ? Isn't that right P.?"

"Me, whaddya mean ?" asks Paul, looking around wildly, as he drives, more than slightly paranoid at having the conversation directed toward himself,.

"I donna know what you mean," he tells them all, looking straight at Ged, adding "I'm okay..."



As the van climbs upward it is obvious that the vehicle is labouring, because it sounds sluggish at first ... and then stops. "Damn..." exclaims Paul, "but, would you believe, no petrol ?"

"No petrol?" snorts Cheryl, "we're miles from anywhere and he says that!""

"Its like at the gig, the sound was all wrong..." Simon insists.

"What!" Rose exclaims, turning to stare him, "how do you make that out?"

"Well, back there I was saying that the levels on the mixing deck should have been set differently and no-one listened..."

"Yes and the point is?" She asks.

"Well, I said we needed petrol when we came off the by-pass," Simon answers.

"And no-one listened to me," he complains.

Paul nudges Ged with his elbow and smiles, before saying to him, "I like Si, but what's that phrase about the pot and the kettle?"

"Okay," says Chris, "enough... I've Fifa 2000 booked for next Tuesday and I want to get home to play it."

"Everyone out and well push it to the top of the hill and cruise the rest of the way..." he adds.

"Yes. And then?" Asks Rose, logically.

"Then somebody..." he begins, directing his gaze to Rose, "will have to go to the garage for the petrol, that someone else ..." he says, looking at Paul, "forgot to put in."

"Who's going to steer then ?" asks a voice from the back of the van.

"I will," says Chris.

"I will," adds Paul, or P. as he is known, who has short hair, bleached white.

"I will," chimes in Simon, the roady, wearing black leather, blue jeans and white tee-shirt, long fine corn-yellow hair falling over his long unshaven face.

As he brushes his hair out of his eyes, a young woman's voice pipes up,

"But Si, you can't drive."

"S'alright, says young P. confidently, "I'm steering."

"You steer ... you ! You're the one to pour oil on troubled waters, to pour water on the chip-fat fire. You'd stand at the edge off the cliff and then, peer over the edge!" Rose tells him, firing on all cylinders; watching to see what the young mans reaction will be.

She pauses a minute, before adding, "And you said you could drive."

"I can." Paul tells her defensively.

"Yes, drive us all crackers, you mean." Rose retorts.

"Okay ... okay," he says, sounding a little aggravated. Then he adds, "That's enough, I get the point, so don't drive it home, 'coz right now, that's our problem, we can't!"

Chris steers, to cease any further argument, as slowly the van is pushed up the hill; by everyone, except for Cheryl, who sits in the back, whose fashionably high stack heels will not allow her to do so.

Ged, Simon, Paul and Rose all lean down facing the road, arms straining hard and breathing ragged and

as inch by inch the old Ford Transit edges up the hill.

Finally, the van reaches the crest and the handbrake applied.

Chris opens the driver's door and looking back, calls to his companions,

"There's a house over there, to the right. I can't see a way in, but they might have a phone and we could call for help."

"Good plan!" Rose states, hands on her hips, as she turns to the left and right, to ease her back after the exertion of the push.

The van has stopped outside black gates at the bottom of the hill, with a tree-lined pebble drive, that leads to a large house, eventually.

"I'll go in first," says Chris, stepping out of the van and turning to look at his friends he adds brightly, "I'm sure it'll be alright."

Then, as he pushes open one of the heavy wrought-iron gates, Chris looks at the sign affixed to it. The black letters on a a white sign on a black gate proclaim in ancient, cracked and peeling paint, that the house is called, "Nowhere."

Chris knocks at the door and it is opened by a slim, very long-haired, barefoot brunette, wearing a red velveteen dress, that hugs her figure and is cut low at the front to emphasise her large cleavage.

"Hello..." he says, as the doors opens with his right hand outstretched, which is taken by the woman who smiles broadly, that doesn't quite show in her eyes.

"Hello," she greets Chris, "I'm Lilith..."

"Er..." Chris responds, his hand held still by hers, with his eyes not quite on the face of the woman before him and he blushes a little, as he tells her,

"Our van has broken down and we need to use the phone. Is that okay?"

"Well my father's...downstairs... somewhere right now."

And the brunette pauses theatrically, before she encourages, "But, do come in…"

Then, she finishes, "After all, I'm sure he wouldn't mind if you came in … to use the phone."

She lets go of his hand and Chris follows her swaying backside, as she seems to float into the depths of the hallway's shadows.



* * *



After almost half an hour there is no sign of Chris, so Rose looks at the blonde Cheryl and says,

"You coming with me?"

"Where to?" her friend asks.

"To the house," she answers, "to look for Chris."

"Yes, okay ... if you want," her friend replies.

They disembark from the van and begin to walk toward the foreboding edifice at the end of the drive.

"I don't like the look of this place says Cheryl, to Rose, looking toward the house.

But it wasn't like they had any real choice in the matter now though, the van was situated a quarter of a mile down the road.

It was getting darker by the minute and this was the only place they'd seen for a couple miles.

"All we'll do is go in, find Chris, use the phone to call a garage, and then leave. It'll be okay," Rose whispered to Cheryl as they walked through the front door.

Inside the vehicle, the lads sit and look outside and into the dark.

"We can't let the girls go off without us," states Simon.

"Why not?" asks P.

"Easy," says Ged, smiling, "He's scared and wants Cheryl to hold his … hand."

They all laugh at the remark, bar Simon, who seems to sulk, before saying,

"We'd better go after them."

"Why?" The remaining two ask in unison.

Ged laughs, as he opens the side door to the van, muttering, "I called it right," then he adds, "alright c'mon then lets go..."

Slowly they follow after the girls, the moon hidden by dark, fast moving clouds and what little light that had been provided is lost. They stumble on in near darkness until finally Paul shouts out, "Rose, you there?" as he walks into Cheryl's back.

"I am not Rose," the young woman says indignantly.

"No I am and I'm over here!" Rose calls out as she opens the front door to the large house, a good distance from Simon and Ged.

"Alright, is everyone inside?" Simon asks, before closing the door after himself.

"All except for the ghosts!" Ged says, in a quiet voice, looking around the large hallway they have entered.

"Ghosts... ghosts ... where are they?" Simon says, looking around wildly.

Ged finds a light switch near at hand and as several wall hangings burst into light Paul laughs aloud, exclaiming, "Well, if they're wearing sheets I wonder if they'll be as white as your face?"

"Stop being stupid you lot!" Cheryl snaps, "we've got a phone to find!"

"Well, if we can't find it, we can always use her mouth..." Paul mutters.

"Okay," says Rose, "that's enough. She's right, we've got to start working together, or we won't find the phone," then quietly, she adds, "or Chris."

"Okay what do you suggest?" Paul asks.

"Well you guys try upstairs," she tells him, indicating the stairs to the behind the small group, "and Chez and I will look downstairs."

"Okay," the trio reply, as one, turning to troupe up the stairs, Paul first then Ged and at the rear Simon, who keeps looking behind himself.



* * *



As the boys walked upstairs... Cheryl looks to her friend Rose, asking, "So, what should do you think we should do now?"

"Same as the boys I suppose," she answers, "stick together and search."

And sounding more than a little concerned, she adds, "That's all we can do."



* * *



Walking up the long stairway they each become aware of the eyes in the numerous pictures on the wall to their left.

All the eyes in each of the paintings seem to be staring at them, one by one, as they pass.

At the head of the stairs are two corridors, one to the right, across the wooden balcony and to the far wing; whilst to the left side, where they huddle, where they look down at the paintings' eyes, all staring up at them.

"Special effects!" pronounces Ged, doubtfully.

Then, in the now very dark and stormy night, a distant rumble of thunder sounds and seconds later, the sky lights up momentarily with sheet lightning, casting long shadows of the nearby trees over Paul, Ged and Simon, whose knees rattle as he says, "Those effects are good."



* * *



Meanwhile downstairs, the girls were both opening door after door that led off from the hallway.

"I'm sure that when I open the next one a skeleton will pop out and go "BOO" at me..." Cheryl whines, "it's real scary, this place..."

"Nonsense," Rose assured her, opening yet another door, "this is just an old house, that's all..."

From by her feet something brown and furry scuttles, moving very fast; "...with rats in it!" Exclaims Cheryl.

"Er ... yes," responds Rose, still looking down to her feet in expectation of finding another fast moving rodent.

Then, suddenly, she looks up and says to her companion, "That reminds me, I wonder how the lads are doing?"

Finally after moments quiet, from upstairs can be heard a yell, then a thud and a bang. When there is silence, Rose says in the quiet, "I think P. got to the top of the stairs."



* * *



Paul looks ahead, then to his left and right stating, "This place just doesn't feel right, you know what I mean?"

"I know exactly what you mean!" exclaims Simon, patting his long, thin blonde hair, which seems to stand away from his head a little.

"That's static, that is," Ged states looking around the dark corridor for a phone, his friend Chris, or just inspiration.

"So, anyone with a bright idea, speak out," he asks of Paul and Simon.

"Well we choose a direction and go that way," suggests Si.

"Yeah, so which way?" asks P.

"It would be quicker if we split up to search." Ged states as he rubs his chin, thinking aloud.

"That's the last thing to do," Simon responds. "In films they always get picked off one by one when they split up in situations like this."

Lightning flashes again as the trio look to the two ends of the corridor and the arch windows are illuminated briefly in the flash of light.

"One thousand, two thousand, three thousand, four thousand," Ged counts.

Then, thunder sounds again, as rain is buffeted by the wind against the old building and the sky is lit again by forked lightning.

"It's getting real bad outside," he says, stating the obvious, as it thunders, very loudly.

"Did you count that one in?" Asks Simon, "'coz I did, it's moving this way."

"Oh great," P. mutters.

"Well, we can't stop here. We've got to start moving," Ged says.

"So," he begins, "we could split up. It's sensible."

"No, it isn't. I've gone through that," Si responds, "anyway, it's dark and I can't see the light switch and we'll lose each other and..."

"Here they are !" Ged says, turning on the wall lights.

The light fixtures are all brass figures of young women leaning out and holding aloft glass shades, all in a delicate, woodland green.

The carpet at their feet is old and threadbare; the walls between the dark wood beams have all been painted a dark red, whilst the ceiling above them is black.

This is a jolt to the senses that none is quite prepared for.

Finally, after almost two full minutes of silence, Simon exhales and says, "Oh!"

"That's a very good word 'oh!' It says a lot does 'oh' ..." Paul mutters, slowly turning his head to fully appreciate the length of the two corridors, the wood carved balcony, that looked down onto the hall and, the sheer amount of doors.

"Erm ..." he says lamely, wondering whether anybody is listening, "I know this is stating the obvious; but, isn't this place a little bit strange?"

Set within the arch, at either end of the corridor, there is a smaller recessed arc into which a stained glass window is set.

Again there is thunder and lightning that throws a bright flash of light that reflects through the coloured glass onto the flooring and the dual image of deeply malevolent cat's eyes that mix and merge with the passing of light.

Ged looks to his friends, saying to them, "Who was it said we're splitting up?"

"C'mon then, I suggest we stay together and search," he says, adding, "It may be slower, but..."

Very loud thunder directly overhead cuts off the rest of what he says, but as the corridor is lit by sheet lightning, he turns left and toward the nearest door.

As he moves away, the others follow silently; there is no more to be said.





* * *



Opening a large, rosewood door, its edges carved with writhing, naked, intertwined figures, both girls stand motionless, seemingly frozen in their tracks at what they see in front of them.

There was Chris, leader of the band and Rose's partner, in the arms of a tall, curvaceous brunette, dressed in a red velveteen dress, that hugged her figure and was cut low enough at the front to emphasise her large cleavage.

That had been what caused them both to gasp, although they would have probably had heart attacks, if they'd noticed what was reflected in the mirror at the base of the long, winding staircase.

In the mirror, Chris could be seen in the arms of a female demon, or succubus.

"What do you think you're doing Chris - topher?" Asks Rose, angrily.

"I'd of thought that was obvious..." snipes Chez, to no-one particular.

And then, as if from a dream, Chris blinks his eyes, to look at his girlfriend:

"Rose...er, would you believe, where am I?"

"Well," Cheryl opines,

"You mean you don't know?" Rose asks.

"No, I don't..." Chris replies tersely, adding "don't you believe me?"

The two girls look at one another and chorus, "No."

The young man mutters to himself, still looking more than a little dazed,

"I was looking for the phone," he begins, "she said 'come in' ... and then, well... you're here."

"Yes, well just ten minutes ago there was nobody here!" Cheryl explains.

"You did not see us perhaps?" suggests the brunette, a light smile playing upon her lips, as she adds, "I was showing him around."

"I'll bet," Cheryl mutters, who turns quickly toward the sound of a man, coughing politely into his hand.



* * *



Upstairs, Ged opens the nearest door to himself, with his companions peering over his shoulder, to see what he might see.

Inside the room, the vista doesn't end, stretching as it does, into what seems to be a far horizon.

From the inside of the doorway to as far as their eyes can see there are people, naked people, all writhing and groaning in pain, as the flesh is constantly ripped from their bones, only to reform and begin again.

They stand in morbid fascination, for several seconds, before turning from the doorway and closing the door once more.

"Well, no phone in there," announces Ged, as he crosses the hall and opens the door opposite.

Inside this room the vista doesn't end, stretching as it does, into what seems to be a far horizon, where all is white. It is a frozen wasteland, where in the distance can be seen the heads of people, sticking through the ice, screaming for help, seeing the small group in the doorway.

"Well, they're not going to be able to offer any assistance!" Simon states.

"I always said that you'd be able to get a good pot-noodle the day hell froze over, or when petrol went down in price. Either petrol will be cheap, if we get to the garage or, pot-noodles are going to taste excellent." Ged mutters, as he closes the door quickly, not at all anxious to try the next one, so he says,

"Would someone please remind me why I'm doing this?"

"Er...we're looking for a phone, for Chris, for help..." offers P. helpfully.

"Well, how about we look for the stairs again?" says Ged, "Something tells me that every door that's opened will show a different version of hell. And me, I think that I've seen enough, just by opening two doors."

"You could be wrong," Simon suggests.

"I think we should go find the girls. But, okay then Si, you open the next door..." Ged tells him, smiling. Once more, there is thunder and lightning that throws bright flashes of light that reflects through the coloured glass onto the flooring the dual image of deeply malevolent cats eye's, that mix and merge with the passing of light.

Simon looks to Ged, smiles and says, "The stairs are back there, aren't they?"



* * *



At the cough, the girls both turn, startled at the sound.

"You must forgive my daughter," the old man in the doorway requests, "you must understand, she is a little starved for company."

Parting from the surprised young man the brunette looks to the man speaking, as she grandly sweeps her hair away from her face.

"I'm Lilith ... welcome to the house," the young looking woman says to Chris, then looking over his right shoulder says, "and who is this you have brought with you?"

At this point down the stairs Paul, Ged and Simon re-enter the great hall, following the sound of voices.

"Er," Chris begins, still blushing after his recent encounter, "this is Product." He tells her.

"And product are?"

"A leading question if ever I heard one!" suggests Simon.

"Product are..." begins Chris proudly, as he points to each member of the band and gives they're name ... "Ged on bass, Rose on Synth and vocals P. on guitar, sometimes on lead on the twiddly bits..."

"Product are ... ?" says Simon suggestively.

"Shut up!" Rose tells him

"Have you finished?" asks Chris looking at Rose.

"It wasn't her, it was Si," responds P.

"Whoever it was I hadn't finished ... Chez is our girl on tambourine."

"No, she's the groupie," suggests P.

The girl with long blonde hair looks annoyed.

Chris sounds a little flustered as he finishes, "And the fella who looks like Justin Toper from The Mirror is Si. He's the gofer ... you know gofer this and go for that ..."

"That's not true, I'm the roadie!" Insists Simon.

Ignoring the interruption, the brunette looks at Chris then to the rest of the band and announces ... "I"m Lilith, the daughter of ..."

She never finishes, as there is a cough from a doorway that is, and hadn't been there, behind her moments earlier.

"Ahem, Hello," the figure says softly, "I'm her father, the name is Scratchman, he gesture into the room he's just emerged from, saying, "Do come in..."

They enter and all look around the gloomy room.

"You wanted to use the phone didn't you," he says to them. "Well I'm sorry to tell you but it's out."

"How did he know that?" Cheryl asks Rose, as they follow behind the rest.

"It must have something to do with the storm? Putting the line out like that," suggests Simon, to which the old man before them just smiles…

"Yes, perhaps..." Rose agrees, albeit dubiously, as she looks to the old man, wandering around, "Now, where have I seen his face before?"

Then abruptly, she turns to Paul, whispering out of the side of her mouth,

"I know who he is! He's the devil!" Rose tells him.

"How do you know that Rose?" he asks

"It's easy,' she says, 'I saw his picture in a music magazine, where someone had been joking about selling their soul to the devil to produce good music. This man here,' she says pointing to the old man, 'was there, so it seems that the man in the article had been telling the truth!'

"Well while you're here, why don't you introduce yourself properly?" the old man says.

"My name's Chris and I'm a musician."

"You? You're a musician?"

"Do you read music?"

"I can."

"Do you write it?" the old man asks.

"Well no..."

"Do you use a computer?

"Yes," Chris says proudly.

"Well then ... you are one of my children ... one of the musicians of the dammed."

"The what? Do you mean the music of today, Indie, rap and Techno? You know, stuff like that ?"

"Oh yes," he tells them smiling, "My children. Those who have chosen to use... my tools of creation. To produce the sound and words that I want them to hear.

"You what ... you're saying it's your music, that them old farts were right, who said that modern music was a tool of the devil?

"Er ... Yes."

"I'm not having that, you telling me that there's no real music?

"Yes, that's just what I'm saying.

"No way, I'm not having that. There's lot of stuff out there, some of it must be good?"

"What do you mean by good"

"Er... might I suggest, not connected with you?" pipes up Ged.

" 'Into Temptation' by Tim Finn, that wasn't mine!"

"With a title like that, it wasn't yours?" Chris asks.

"No," the Devil responds, in a deep sonorous voice, then adding "but, then again, neither was Devil Woman."

"Is that it? You're saying that everything else is yours."

"Er, petty well, yes."

"Well we're not your children, are we?" Chris asks, turning to the other members of the band.

Slowly the old man begins to transform. His clothes tear from his body, as he becomes bigger by the second.

Everyone edges to the side of the room, their eyes fixed firmly on the being they had met, Mr. Scratchman.

Slowly he becomes red, with yellow eyes and elliptical iris.

Finally the Devil had grown so tall, it appears he will fill the room.

P. looks up at the red beomouth, with rippling bulging muscles and two twirling horns growing from his forehead and he calls across the room to Rose, still staring upward, "You know what Rose, I think you were right. He is the devil."

Cheryl looks at the young man and exclaims, "D'oh!"

"I drew you here to..." he booms out.

Ged looks across to Chris and he says, "My guess is, bore us to death..."

"How dare you!" he booms again.

"How dare we?" Ged asks of his friends.

Before he turns to the red giant before him, saying, "Mephosthiles, Satan, Lord of The Flies. They're all names you've gone by. But I think the most apt name, I think, is The Prince Of Lies, Lord of deceit..."

His face contorted with anger, the Devil rapidly shrinks in height, until he stands at about fifteen foot.

His head snaps round, so that he stares directly at Ged.

"Prince Of Lies!" He snarls, bearing long white fangs, "How dare you!"

"Easy," Ged states casually, still staring into his adversary's eyes,

"If you believe in the Devil, then you believe in the other fella and he gave us free will."

Again the Devil snarls, "You impudent young cur ..."

"Uh-huh ..." Ged expresses, "Go tell it to someone who's bothered."

Leaning in toward the young man The Dark Lord hisses, "What did you say?"

"Hah, big pointed ears like those and he asks me that," Ged pronounces, looking at Paul, before turning back to his adversary once more and saying, "And when you call me a cur, it's spelt s... i... r... !"

"You whelp!" The Devil exclaims, then the cloven footed creature bellows loudly,

"I don't have the heart for this discourse any longer. But then," he insists, "neither do you!"

As he cries out, the Devil stretches his right hand toward Ged, talons pointing upward.

Then he thrusts his hand forward with force, talons uppermost, straight into the young man's chest. Ribs shatter and blood showers outward, as he reaches upwards. Then he pulls his hand outs the chest cavity, holding the still beating heart before his victims bulging eyes.

As Ged falls to his knees, each looks to the other.

Finally, after seconds of silence, Rose exclaims, "The bastard, he's killed Gerald!"

"Er ... what now?" Simon asks.

"Would you believe, run?" Chris suggests.

"I'll go with that!" agrees Paul.

The girls look to one another a moment, before Cheryl turns to Rose, asking, "What do you think?"

"Same as Paul, run!" She replies.

They all scatter, some of them upstairs, whereupon, the stairs fold in on themselves and the stairwell becomes a slide, directing the falling companions back from whence they started.

The two girls run together, toward where the front door had been and isn't.

Cheryl turns to Rose, saying, "Well it couldn't get much worse."

Then from behind them they hear the sound of a discordant bass being played,

loudly and Rose looks to her friend, asking, "How? We've got the Devil and his daughter after us. No petrol in the van and someone sounds like they're playing a bad cover of an old seventies band!"

The young men who had fallen, meet Simon emerging from a small door beneath the stairwell farthest from the front of the house, with a large grin on his face,

"You know what I found down there?"

"More stairs?" asks P.

"A crocodile?" suggests Cheryl.

"Nah. A sound system to kill for," answers Si.

"And I do wish he'd not say things like that!" exclaims Rose.

"Things like what?" Simon asks, with a tone of mock innocence.

"Like ... there's someone behind you!"

"Pardon?" he asks, while a loud, maniacal cackling, acts as a prelude to the entrance into the main hall of the Devil and his daughter.

"You are not going anywhere," he booms, as each of the young people look to each other, for a bright idea, "but downstairs."

"We're not going anywhere, with you..." Cheryl announces, arms crossed in a posture that affirms her defiance, as she looks up at the red figure stalking their presence, an attractive brunette slowly walking behind him, her every movement an act of seduction.

"You're not what?" he bellows, directing a withering glower at the attractive young woman.

Cheryl gulps, in fear, but still retorts, "We're not doing what you say mister."

"You're not ..." he laughs a moment, then looks at her, asking, "what do you play again?"

"Er ... well."

"Yes, that's what I thought..." he tells the assembled group, sweeping his aright arm in a wide arc, his sharp talons once more inflicting damage, as the young woman's scalp is sheered clean off.

He holds her body with his left hand and scooping out grey matter with his right, announces, "you sound brainless when you talk. Now you are..."

"You've killed Cheryl!" Calls Simon.

"Regrettably..." he intones, "though she looked good...she tasted better..." He continues, staring at the young man with malevolent eyes.

Then, he licks at his blood slick claw, with a long forked tongue and his smile grows wider...

"After all, the only purpose of existence, is to illustrate just how inviting oblivion actually is..." and, he laughs again, maniacally.

"He's killing us off...one-by-one!" exclaims Paul, eyes widening.

"So you noticed!" Rose retorts, moving backward slowly, toward the bookcase behind herself...and muttering, "Oh, that's gross," as Cheryl's body is torn into small pieces.

"Daughter, do you want some of my snack...before..." and he survey's Product, standing before him.

Each of the remaining members look at one another, very worriedly, as the two immortals devour the bloody human flesh that had been their friend.

The Devil smiles a broad smile, as the body drops to the floor and then laughs, saying, "Now there'll be no interruptions when we play against one another."

Chris looks defiantly at the beomouth and exclaims, "After all this you think we'll play you?"

"Well," the Devil begins, as they all fade into nothingness, only to reappear downstairs in the cellar, "it's either play me for your souls and freedom, or you could take the other option..."

"Which is?" Chris asks, looking all around, at the stairs that lead down to where they stand, to the massive stacks of electrical equipment nearby; and, the dank, large brick walls that surround them.

Once more, the Devil laughs maniacally, the sound echoing around the large, dank, stone cellar, then he intones: "Easy...don't play...then die!"

Chris stares at The Prince of Darkness, paling somewhat, before he gulps and turns to his friends,

"C' mon you guys?" he asks, "whaddya say?"

"You know, it's just like that album I mentioned before," Rose asserts, "now, what was it?"

"Crossroads?" suggests Simon.

"Cha, the way this is going I'd say it were more like that really great t.v. soap opera of the same name!" Exclaims Chris, a tad exasperated.

"I think so," P. says, slowly, in answer to Rose's question

"Think so what?" ask Si? who is getting really confused.

"Don't matter," says Paul slowly, "you don't play so you don't count."

"C'mon, enough !" screeches Chris, now sounding very frustrated and extremely annoyed.

"Well I says we kick some ass" says P.

"Well you would" says Rose, critically.

"Look I am asking not if you can play ... but, will you?"

"Dunno," says Rose then pauses, before adding flatly, "No computer ..."

"Because we haven't got our instruments here…" suggests Paul.

"Look behind you," Scratchman says to them.

They all turn, almost as one.

There, in the doorway were their instruments, plugged in to the mains.

"Okay mister, I guess we'll show you!"



# The band plays #



A sound that rocks, that is as sweet, as a nut and speaks to one's soul; and, with lyrics that are wrought from the gut.

"Ah, so you do know how to use instruments, my children!"

"Pardon?" P. says sounding annoyed, putting his guitar down and putting his fists up, "I'm gonna smack 'im, I'm telling you! I'm gonna smack him!"

"You can't smack 'im he's the devil," Rose tells him.

"How do you know that Rose?" he asks

"It's easy," she says, then adds, "he's big and red and has horns! D'oh!" she says, finishing and folding her arms, looking a little smug, as Simon cups his hands together and whispers in Chris's left ear.

"He's got a Variable Audio Amplifier..."

"And?" Asks Chris as The Devil shrinks in size, so that he only stands at seven foot, picks up his bass and turns to his own equipment.

"Okay... so, he's the devil…" says Paul loudly, annoyed at being told he cannot scrap with The Lord of The Dead.

"Yes."

"So, what now?"

Simon whispers to Chris, who smiles a very broad smiles, as the Devil begins to pick out a chord, or two, very quickly turning these into complicated riffs.

"Well I just have one thing to say..." says Chris.

"Yes?" they ask almost as one.

"Play again, play louder!"

The Devil plays his discordant chords, with a very severe backing track, against the rhythm of one of Product's best tracks, as slowly Simon edges round the room, talking aloud: "I'm sure that I'm right, I'm sure that I'm right..."

Suddenly, Lilith stands between her father and Product, as each toils to endure the others sound, whilst emphasising their own by turning the volume higher and higher.

The competition of sound continues unabated, made much worse for the band, as Lilith picks up a microphone and begins to sing, her voice reminiscent of a angry wind, put to a heavy rock beat.

Whilst on his knees now, Simon crawls toward the spaggettii junction of wire behind his adversary's gear.

"It's our only chance and it's a slim one," he mutters, "but..."

He turns one wire, exposes two more, then twists together the first and the second, "it's the only chance we've got! And... I'm sure that I'm right, I'm sure that it'll work!"

And, the band plays on...the sweet sound of their music, a counterpoint to the raw power that the Devil produces, which is further augmented by the sound of his daughter.

And Simon looks to his handiwork and the mess of wiring, saying, "Now, I'm sure that it's red to yellow, or is that yellow to black. Oh well, I'll go with what I'd thought 'an then..." finally, he stands away from the Devil's equipment.

"That should be it..." he announces, as the Devil's sound begins to rise to a crescendo, that has the very floor vibrating with the sheer energy that he produces.

Simon stands and walks round the room straight toward his friends, muttering, "Gonna go, gonna go."

Then, once at the bottom of the stairs that he had walked down earlier, he runs,

up step after step, shouting, "Put 'em down. It's gonna be good!"

Engrossed with the sound that he is producing, Mephistopheles closes his eyes, intent only on what he is doing.

So it is, that he doesn't notice that first Rose, playing synth, has gone upstairs to join Simon; then P., who lays his down his axe and follows after her, reluctantly, as he had so wanted a scrap.

This now left Chris, who looks at Lilith and mouths 'bye,' as he too turns to exit the cellar, to join his companions.

"Well," Si begins, closing the cellar door and starting to run again,

"put it this way... I think I've taken the edge off his performance, by borrowing some of his sound!"



There is an explosion...a loud one; that rocks the whole house to its very foundations; "Ha! ...bargained for!" Si finishes.

And then, before them, the Devil having been distracted and his magyck weakened, is the front door once more.

"That's it," says Chris opening the door, "we're gone!"



* * *



Downstairs, the Devil stands midst a pall of black smoke, staring at the pieces of electrical equipment that litter his cellar.

"Well," he begins, bemused and more than a little annoyed,

"it would've been alright if it hadn't been for those pesky kids."

Then... he laughs maniacally, once again.



* * *



As the four young people slowly walk down the long gravel path, Rose asks

"So, what happened?"

"Well," Si begins, "It was the Variable Audio Amplifier. I was able to play with its innards..."

"Like Ged?" queries P. more than a little stunned by the whole affair.

"I'll ignore that," says Si, continuing with his explanation, "well, I was able to vary the carrier wave to... produce an oscillating sound wave, that was inaudible to us... but fed back on a loop produced a sound of graduating strength, that eventually destroyed all his equipment; and the distraction enabled our escape..."

In the silence following Simon's clarification of his actions Chris opines,

"Next time we gig, we'll bring a spare can of petrol."

Huh!" P. exclaims, "whaddya mean, 'next time?'"



* * *





The End.



COMMENTS

-



 

The Dalek Invasion Of Raven Mere

15:40 Apr 18 2005
Times Read: 1,116


Or … There’s An Ace Babe In The Tardis



Narrator:



And, no-one would have imagined that in the late part of the twentieth century, little, beady, greedy eye’s, would be viewing a small blue-green planet, third from it’s sun.



They had decided that since their own planet was no more, that this planet, known as Earth to its inhabitants, would be theirs.



* * *



It is an Early Summer’s morning and an orange hue to the horizon precedes an early sunrise:



The mere looks still and serene this early morning.



A fisherman sits on the embankment, where he has sat since four, on the far side of the Mere and well away from the road that broaches one end of the open stretch of water.



It is now almost half past six in the morning and he is becoming tired, so doesn’t see the outgoing ripples at the centre of the tree-edged mere.



He does not notice the ducks swim to either side of the waters surface, as if to avoid something.



Then, when he casts his line again, the bleary-eyed fisherman hardly registers that the float seems to bounce mid-air, before finally sinking to the water.



Minutes later, a loud wheezing and groaning sound precedes the materialisation of a blue police phone box, of the kind very much evident in England during the middle of the twentieth century.



A door opens inwards and a little man steps out.



He looks to be in his forties, with eyes that conceal much wisdom, glittering as they do with bedevilment, with greying hair, partially concealed by a slightly battered, cream fedora.



A garish pullover, was unfortunately, not concealed enough by the brown jacket he wore.



The man is quickly followed by a teenage girl, wearing black skin- tight leggings and a shiny jacket covered in badges of many various types.



She has long, dark hair tied in a pony-tail and she looks to be about seventeen years of age.



" Professor, why are we here ?" She asks.



"To relax.’ He answers with an enigmatic smile on his face.



"Professor, you almost always say that and then …" The young woman says.



"Then what, Ace ?"



"Then we generally end up in trouble, or something." She tells him.



" Well, not today. We’re here to relax, have an ice cream and play the slot-machines …"



He smile’s broadly.



The teenager brightens somewhat at the mention of treats and follows the man to a set of that steps lead to an outhouse, next to an older, renovated farmhouse overlooking much of the stretch of water and the road leading down. He appears crestfallen when he sees a ‘closed’ sign on the dark-stained wooden door to the cafe and he lifts his hat, running his fingers through his dark brown and grey short curls:



"Bother ! It’s not fair, I wanted an ice-cream …" He says a little tersely.



"Prof, are you sulking ?" Ace asks.



"Me ?" He exclaims, his voice raising to a high pitch … then adding, in a quiet voice …



" I never sulk !"



"So you say and if you say it, then ... I’ll believe it. ‘Coz I believe everything you say ... don’t I ?"



"Hmmm ... I think we’ll go have a look at the swing boats."



The little man sounds almost petulant, as he walks back, confident that his young companion will follow. At the bottom of the path he turns right, walking briskly past the house to his immediate right and the small house to his left that looks over the Mere proper.



Beneath his practical leather shoes the tarmac is still dew covered.



" Funny, I remember that this road had no surface. Now ... ?"



* * *



Inside a small, functional, console littered spacecraft:



Little beady eye’s view the scene played out on a large monitor - screen, through their electronic eye, at the end of a metal extension, set in a black ball, about the same size as a tennis ball.



" It’s him !" Says one tin pepperpot to the other.



" Who !" Says the other.



" That’s right …" Replies the first.



"What ?"



"No ... Who!"



"What ?"



"Him, you know, the bugger who always whups are ass’s !"



"Oh, you mean The Doctor ?"



* * *



The little man looks very confused and scowls, as he attempts to remember:



"… there was a cafe, I’m sure of it ... I’m sure of it." The man mutters to himself.



"Hey Professor, slippie’s !"



The young woman exclaims, sliding several feet on the dew-covered tarmac, fast approaching the man.



"Ace !"



He shouts in return, as the young woman careers toward him.



He takes her in his arms, preventing the young woman from plunging earthward. Looking up at him, scant inches from the floor, she says to the man, in a honey-sweet, mock sensual voice ...



"Oh Doctor, I think I’m falling for you."



* * *



As an early morning mist drifts over the water, metallic voices echo in the confines of the small space-ship:



"Now … everybody up top, it’s target practice time …"



"All of us …" grates one metalic voice.



"Affirmative … all of us …"



The black and white trim, section leader intones in a grating voice, sounding very weary.



There is a whoosh of a lift, then the sound of metal on metal …



"Oops, sorry lads, can’t see where I’m going …"



"Cecil !"



"Oops … sorry section leader." The voice lisps.



"You will be it you don’t do as you’re told."



"Ooh lads, he’s at it again !"



"Ignore him … we’re firing at those white things on the water’s surface, aren’t we … Cecil ?"



"Ooh yeth … section leader …" Lisps the pink-Dalek, Cecil.



"Then point your weapon the other way."



"But we’re cloaked section leader … I can’t see where it’s pointing."







"Ignore him section leader … we’re ready."



"Then fire at will … Duck … fire !"



There is quack, followed by the audible sound of frying meat.



"Duck … fire !"



There is a second loud quack, followed by the audible sound of frying meat.



"Good shooting ! Now … Duck … fire !"



There is a scream, followed by the sound of yet more meat cooking …



"Cecil ! I said Duck, not fisherman !"



"Oops, sorry section leader."



* * *



Whilst on the roadside of the Mere:



The man Ace has been calling ‘Professor’ stands the young woman on her own two feet, clasping his hands behind his back, then turns and begins to walk.



The man frowns, stops and turns a full circle, only to continue walking the way he had been.



Behind his back, he pats the back of his left hand into the palm of his right, muttering ...



" Nine hundred years old and my memory is slipping ! It’ll be my teeth next ..."



He passes the house on his left, that overlooks the Mere itself, finally stopping before a long white gate.



Above the gate, pinned to the ivy-covered bark of a tree, is a small sign, it’s letters painted in bold-red:



Private



Access Prohibited



By Order.



"I do dislike that sort of thing." The man says, adding … "I always think it’s personal."



He looks to his right and points, for his companion who follows close behind.



"The swing boats were over there, in that field." Then the little man looks very wistful a moment.



"Not now though !" The girl, known only as Ace counters.



"Ace, that I can see for myself." He retorts …



The little man turns again and walks briskly back the way he had come, then onward, past three concrete bollards to his right and the four steps down to the Mere.



He walks close to the wall surrounding the Mere, until finally he reaches its mid-point on the road and stares



over the Mere and the early morning light dancing in the small ripples and eddies on the water’s surface. He looks across the water to the early morning sun, rising behind the far trees.







Then he looks for awhile at the ducks that live on the Mere, lightly rubbing at his chin, trying to remember.



Leaning over the wall, the little man muses aloud … "It cannot be cured …only managed."



"Pardon Professor ?" The young woman says, puzzled.



"Tut-tut … questions … young Susan …"



She is told, as he turns from the still water, to straighten an imaginary bow-tie …



"But I’m not Susan !" Ace states in an indignant voice.



"Ah Peri, are any of us who we say we are ?"



He counters, beads of sweat dripping down his forehead, as he stares into his distant past …



* * *



Inside the space-ship, that floats on the Mere, two figures still watch the view - screen:



" He can see us !"



"No he cannot !"



"Oh yes he can !"



" Oh no, he cannot !"



" Oh yes he ... cannot. He is walking away."



"I wonder, does that mean we’re safe then ?"



* * *







Staring back into the water once more, the little man muses aloud …



" I’m soulless …" He says, sounding momentarily very distant.



"No you’re not professor …" Ace tells the man.



"Yes I am !" He counters …



"Oh no you’re not …" The young woman says to this.



"Ha ! she laugh’s … then adds … "you could always have it nailed on."



He turns to his left, to face the long-driveway to the large two-storey, black and white cottage.



Two black wooden gates, with three white vertical iron rods at the centre of each gate, stand at the end of the long pebble-strewn drive, leading to the old house. They are closed.



On the front of the left gate a small black sign proclaims in white writing, ‘Millhouse.’



"Ace !" The little man calls to his companion.



"Yes ?" She says in reply, her voice betraying her boredom.



"This is where the slot machines where and there was one that you put tuppence in and you cranked a handle at the side to see how much of a charge you could take."



He looks whistful a moment and says, "I remember, it broke when I had a go ..."



"Oh what a surprise ..." The young woman opines, as she no longer makes the effort needed to disguise her boredom and then, looking around herself and listening to the quiet, she adds … "C’mon, let’s go ..."



"And over there, there were small boats you could ride in, some with oars, some with motors …"



"Professor !"



"All gone …"



"Yes Doctor … and, so should we …"



"Why, is this place bothering you ?" The little man asks abstractedly, then adds …



"It was about the years sixty-three, or sixty-four … on Earth I think. And, I had a granddaughter back then … and I brought her here …" He adds, in a far off distant voice.



"Oh! … And ?"



"She liked the place … the ducks … the mere … all of it …"



He smiles at the memory and Ace thinks that she sees a tear forming … as the little man holds onto the gate as he reminisces …



And … slowly the gate swings open.







Then the man walks down the path to the house, his footfalls on the pebbles crunching together loudly.



"Now where are we going ?"



The youth cries after him, as he walks up the drive, looking upward, at the towering trees that surround the two lawns, built on slightly different levels.



"Just there … he says absently pointing to the left, down a gully, lined by trees;



There was an old mill-wheel and I’ll lay odds it’s still there …"



"Professor !" Ace calls out from the end of the drive-way, a distance from where the man now stands.



KNOCK-KNOCK !!!



"I wonder if Old Mrs Wirralson still serves cream scones and strawberry jam ?"



The little man muses, as he tries the heavy door-knocker.



* * *



Inside the spacecraft:



As the metallic creatures look at the view screen in front of them, a third enters the white functional control room behind them,it is pink with white trim. The telescopic pole at the top of its head rests rests its ball sensor end on the head of the creature on the right. The two with red and white trim, look at the screen, ignoring the others presence, until it says, in grating tones …



"Oh, don’t be like that, I only said, last one in the water is a sissy !"



There is silence, then it says



"Oh … who’s that on the screen , now he’s got absolutely no sense of style, whatsoever ..."



"That, is the Doctor ..." says the red pepperpot, with silver trim on the left.



" Enough, all of you …" says a fourth, black with white trim, as it enters the other side of the room.



The third, Cecil, who had entered opines ...



" Oh hark at Mr Macho, or what ?"



There is silence ... then a loud cracking as from the right of the two stubby projecting limbs at its front,



bright light issues forth. The crackling beam audibly hits the third creature, which explodes loudly.



As a thick viscous greenish glob gloops from where the top has blown off, all three Daleks begin to say:



"EXTERMINATE ... EXTERMINATE ..." several times.



* * *



At the door to Millhouse:



He soundly raps the heavy door knocker ... and a tall, lightly bearded young man, with long fair-hair opens the door. Behind him stands an equally tall, elegant, slim blonde, with her right arm draped over his shoulder.



"Do excuse me ..." The stranger says, raising his hat a moment.



"But," He continues …



" I was looking for afternoon tea ..."



" Pardon ?" The young man asks.



"I remember an old lady and scones and afternoon tea ..." He says, his speech drifting away.



"Ah, that was my Grandmother ..." The man at the door says, putting his hand forward.



"Ah yes, you’re Mathew."



"No, I’m Luke," he says as the two men shake hands briefly.



"Ah, and … you’re a pianist ?"



"No mister, I’m a guitarist."



"Oh !" The Doctor pauses, looks thoughtful a moment, then says brightly …



"And who is this charming young lady with you ?"



Gesturing to the young woman at his side, Luke says …



"Well, this is Charlotte."



"Well," the caller states, grinning broadly, "I’m the ..."



The man smiles disarmingly, before doffing his hat and continuing saying,



"I'm the Doctor and the young lady by the gate is my friend Ace …"



He says it as though that explained everything, although neither of the couple seem at all impressed.



"Well I was just passing by and ..."



Continuing he says …



"and I thought ... well I ..." His words drift away again, before he sniffs quite loudly.



"I called because I remember being here ... scones and ..."



He pauses again, then sniffs once more, saying,



"Oh, I’ve just caught it ... it seems my sense of smell is a little off ... what is that lovely smell ?"







"Oh, that …" The young man replies … "That’s blackcurrant jam."



"Blackcurrant jam …" The Doctor repeats slowly.



"Yes, I remember that my gran used to make it, so I decided to make it myself, when I found the recipe."



"Ah," the Timelord enthuses …" so, it was blackcurrant jam I recall.



And musing aloud the little man says with a grin on his face …



"Blackcurrant jam … The Gods they have Ambrosia and man … well, he has blackcurrant jam …"



* * *



Ace hears a sound from behind her … and looks over her shoulder, saying to the travel weary Timelord …



"Doctor, Doctor !"



"What is it, Ace ?" He retorts, sounding very irritated about being interrupted, while speaking to the young man at the door.



There is a pause as the young woman looks over her shoulder once again, at what trundles toward them, down the tarmac covered surface of the road …



"Professor !" She shouts. "There are Daleks coming toward the gate !"



Then, after a moments silence, she shouts once more …



"Professor, we’re okay aren’t we, Daleks need a smooth surface to move on.



"No young lady," He tells her, more than a little pompously, saying:



"That was a much earlier model that used a form of anti-gravitational pad as a means of propulsion ... And I’m sure I remember a chase at a school when they came up stairs for me ..."



His words drift of into the past and his memories, once more.



"I know, I was there …"she replies, sarcastically.



The three Daleks float just over the surface of the pebbled drive, as Ace stares wide-eyed at their approach.



"Doctor!" She exclaims, running down the path towards the small group at the doorway, looking over her shoulder at the approaching Daleks, that hover just inches over the stony surface.



"Okay, so you were right, again," Exclaims Ace, who grabs hold of the Doctor.



"But that doesn’t help us one iota …" She adds.



The little man looks over the young woman’s shoulder with a somewhat fixed glare to his face …



"Doctor ! She shouts, loudly, " Shaking him by the lapels, "don’t you ever get tired of being right ?"



The young woman shouts at the Docter, before she screams aloud to him …



"Doctor, behind you !"







The Dalek at the lead of the three approaches the little man with it’s left lower limb telescoping outwards, a large articulated claw toward him …



"You are an enemy of the …" It grates, as the little man stares at the approaching adversary, the glint of recognition beginning to burn in his eyes …



"Daleks! That’s right … and, next you’ll be telling me that you’re …"



"DALEKS. THE MASTER RACE … THE SUPREME BEINGS OF THE UNIVERSE …"



"That was it !" He says, then adds … "I knew you’d say that."



The claw closes on the Doctors left shoulder, as he turns towards his arch enemies …



Having spoken, he sneeze’s a loud violent sneeze, as he faces the Daleks.



"Now what ?" The young man asks of his girlfriend, pulling her tightly to himself.



And, once more the Doctor sneezes violently … a loud and dramatic sneeze that seems to surprises even himself at it’s ferocity. And, very slowly the articulated claw releases it’s hold.



The Dalek backs away from the porch and the people in the doorway.



"AM UNDER ATTACK! …UNDER …" It screeches, in grating tones, as it’s top begins to slowly turn.



The dome with extending electronic eye-piece, revolves a full three hundred and sixty degrees, once then twice and … then, the speed at which it turns increases until it whirls around at an alarming rate.



Suddenly there is a loud ‘pop’ … and the dome flips open, to rest on it’s side, held in place by the two remaining small hinges.



From the inside of the Dalek’s shell a green pulpy morass oozes out and down the side of the casing.



Luke exclaims… "Well I … ?"



Ace says … as the Doctor sneezes again. "You’ve got a cold !"



"A-a-choo !" He sneezes once again …



"Nonsense young lady …" he says to her … as his cheeks suffuse with blood …



"no true Gallifreyan borne of The Loom has ever caught a cold."



As the man blusters to his young companion, he pulls from his pocket a very large blue and white polka-dotted handkerchief from the top pocket of his jacket … and he sniffles.



"Doesn’t that tell you anything Professor ? " Ace says to the Timelord.



" Yes, that I’m waiting for the loving embrace of the Grim Reaper!" he says, sniffling into his hankerchief.



"Oh Doctor ! You’re exaggerating," Ace retorts, smiling, then adds, "you’ve only got a cold …"



As the young woman speaks, the remaining Daleks begin to advance.







"It is the Doctor !" They intone several times, as they continue their approach …



"Cease …" The little man says, holding up his right hand, adding, "desist and go away !"



"Professor, what happened to it ?" Ace queries



"Human Gallifreyan hybrid flu Ace, now shush, I’m busy … "



The Doctor turns from his teenage companion to face his mortal enemies, with glowing cheeks and dripping nose, then adds, sniffling loudly …



"There is only the two of you. Now I’m ready to sneeze again, are you ready to ooze ?"



The two Daleks slow their approach as he continues speaking …



"Are you ready to die ?"



There is a click and a whirr, as the two domed heads turn to one another and they confer over what has been said …



"He is the Doctor !" Says one …



"Yes … " His companion replies.



"But," The first adds, "if we die, then we cannot fight for the Empire."



"That is true …" Intones the second …



"So what is it sleazebags ?" Ace says, obviously goading the two Daleks.



"Ace !" The Doctor admonishes sharply.



"Professor, I don’t know what you mean !" She replies, in feigned innocence.



"We …" the nearest of the two falters, as the grating monotone voice starts,



"have a very important battle to fight in the next quadrant, so we will be off …"



"Sensible chap …" the little man says, putting the large ‘kerchief to his nose …



"Now, where was I ? Oh yes … A … - … a … - … choo !!!"



As the Doctor catches the sneeze, the Daleks make a tactical retreat back to their space-ship.



Minutes later, inside the small craft, already lifting upward, there is the sound of echoed sniffling coming from inside each of the two Daleks.



* * *



Back at Millhouse:



"Well that’s it, we’re off …" the little man says, as thick green ooze pours down the side of the Dalek casing and the young couple standing at the door with the Doctor both stare, wide-eyed.



Luke says, "Er, okay ..."



There is a distinct hawking sound as the Doctor clears his throat:



" Aw, choice professor …" Ace exclaims loudly, "that sounded solid."



Luke and Charlotte exchange glances, then turn toward the time-travellers and both say, ‘bye,’ almost simultaneously.



As they go back into the large cottage Ace cheerfully asks of the Doctor …



"Was it something I said ?" And she grins.



* * *



Ace and the Doctor walk toward the Tardis, with a fine sunrise behind it. He says, slowly,



"It can’t be cured only managed …"



"Professor, what do you mean ?" Ace asks, holding his hand.



"Oh, nothing really …"



* * *







They walk up the drive arm in arm, the Doctors hands sunk deep in his capacious trouser pockets.



As they walk past the topless Dalek Ace smiles broadly and pats The Doctor on the back;



"C’mon old man," she says, "the day’s over, so it’s off to bed and I’ll make you a nice hot toddy ?"



He sniffs and blows his nose, then looks at his young companion and smiles and he tells her …



"Any chance of blackcurrant jam instead of honey ?"



As the two walk up the drive, the Doctor continues his rambling …



"Ah, my young friend … the Timelord says, in a distant wistful voice … then adds,



"There are … a thousand lives to lead and each fresh thought can be the beginning of a new life …



"Professor, what do you mean ?" Ace asks, holding his hand, as they both walk towards the Tardis,



the fine sun continuing to rise over the Mere, casting a warm glow over the water’s surface …



and the little man looks toward her with a sidelong glance, a slight smile on his face … and says …



"Oh, nothing really, I’ll explain that, much later …"











The End … ?



***





COMMENTS

-



 

The House [formerly known as 'the front door']

11:02 Apr 18 2005
Times Read: 1,118


THE HOUSE





James Masterson approached the front door.

“Key ident …” a sharp voice stated.

He placed his right hand on time plate on the small pad situated at waist height – to be ergonomic, the makers had proclaimed - and wondered idly whether that would also true for someone 'vertically challenged.'

Less sharp in its intonation, the voice, supposedly female, yet decidedly male, acknowledged its owner, saying: “Welcome home James.”

It opened inward and he stepped inside, immediately pleased how his home was considerate enough to set the temperature for his return home, for his convenience.

Whilst it was cold and getting colder outside, inside it certainly wasn' t.

“You have no new calls to answer, James.”

Music began to play softly and his meal started cooking.

He wasn't surprised that there were ‘no new calls' and, for a moment, he reminded himself that although the voice-synth that belonged to his homes bio-chip didn't sound exactly as it should it was still good to feel as though he had company. Occasionally of late he'd become a little despondent. Sometimes it was difficult, being the last man alive: the days were long and the nights were longer still.

What really struck home was the quiet - it was so quiet that James felt very conscious of even the sound of his own breathing.



That first morning he had risen as usual to go to the office. As he left the house he had a feeling that something was wrong: 'there were no crowds of people on the walkway outside his home, which hadn't moved,

He had walked, folio-case in hand, for hours, constantly alert for any sign of life, yet there had been none.

Confused, he'd returned hone. That was when he'd first appreciated his bio-home - worldwide patent granted 2159.

There had been a hot meal waiting for him and, although felt chided for being tardy James had welcomed the greeting: “You are late, James. Is there a problem? Please tell me. I will listen …”

It had sounded concerned. The home had really sounded like it cared for him, and he found that touching.



Having left the table after eating~ James retired to his den From the side of the chair the dispenser poured a double malt - 'aged to perfection in ten minutes …’ - so the vid-blurb claimed.

James looked around at his sanctuary from a world he no longer understood.

“No more real hassles any more," he muttered. “l guess I’ve got almost everything a man could ask for - except the pleasant sound of a woman's voice,

As he slept the house considered what it had heard. This was the most expensive ‘bio-home’ that James could buy and its artificial intelligence was such that it could fully reason.



It wanted to please its owner and so, little by little, the house changed the pitch of its voice modulating its tones until she was satisfied with the result.

'Good morning sleepy,” said the house in a sweet, mellow voice. “You fell asleep in the arm-chair.'

“Nickv! Nicky, is that you?”

“No and yes," said the house. “Does it please you? I thought it would. After all, you spend so many evenings watching her on the vid-screen.”

“Yeah I guess I do,” James muttered sadly in reflection.

“So I wanted to give you what you wanted," the house said, before pausing a minute, then added: “Did I?”

“Did you? Did you ever...!” he declared slapping his knee.

James liked the idea of a home that was attentive to his needs, had a pleasant personality and sounded so nice. What more could he want?



* * *



COMMENTS

-



 

THE STRANGER IN THE FOG

16:39 Apr 10 2005
Times Read: 1,129


Industrialization had brought many changes to the lives of people living in Britain in tie latter part of the 'nineteenth century, but the inhabitants of London paid dearly for the opulence of a few.



One of the prices for this industrialization had been the thick choking fog that limited one’s vision and clogged the lungs. And this was the fog that Della Crosthwaite walked in and exacerbated her ill temper.



Della had teen a farm girl who rapidly became aware of the harsh realities of city life when she had moved to London all those years ago.

Her cousin front Wiltshire had visited, thankfully just for the weekend as the idea of playing wet-nurse to her cousin and her country way did not appeal she just did not have the time.

Since the new girl had moved onto her pitch there'd been less custom for her. Now she could have made a fuss, but the local Peeler had already warned her off any more fighting. So she’d worked long hours and seen a lot of gentlemen to make up what she'd lost through that snippet working her pitch.

Then the fog had got worse and they’d even given it a new name, ‘smog.’

She needed money, if only for her cousin’s upkeep, which is what had brought her out this night. But the custom wouldn’t come out. They couldn’t see their money. Yet, saying that, she considered the pickpockets couldn’t see the marks, let alone their pockets to pick.

So business was poor and now Delta is on the way home, grateful she lives nearby.

She runs a hand through her thick shoulder Length blonde hair, sighing loudly and cursing herself at the lateness of the hour and the loss of the rich tom to that new bint on the block.

She walks faster past each alleyway entrance, very conscious of the dark things, which could be hiding. Her heels click at a staccato rate as Della cinches her shawl around her narrow shoulders.

Shivering inwardly, her eyes dart quickly tact and forth, whilst a sense of foreboding threatens to overwhelm her as she walks the fog enshrouded streets.

The light cast by the normally bright gas lamps hardly permeates the stygian murk of the dark swirling fog; and it is from beneath the dimmed luminescence of one such street lamp that she notices a shadow, so dark that it seems tangible.

The shadow slowly lengthens to the size of a man and then stands erect. Amazed, Della watches as the figure appears to solidify into the form of a man dressed all in black. His face is lowered so that the looks at the c0tbles. Slowly he looks up to face Della, his dark brooding eyes the focus of her attention. With his pale skin, gaunt cheeks and sunken eyes he has the aspect of something not quite human and, as he walks toward her, the choking fog seems to part before him as if ward of his touch.

He steps forward saying, “It’s a bad night tonight, certainly for a woman on her own.”

His voice was deep and sounded tired.

"T’ain't ever a good night to be out nowaday’s," she mutters quite breathlessly.

She looked toward the man, appreciating his style of clothing that belonged on someone dressed for the opera, or for a funeral, and expensive in taste, although somewhat out of date.

Hearing the man speak, the young woman wondered at his accent considering for a second that it was perhaps Russian or something like that

“There’s no one out today,” he told her. His voice sounded drained.

“True,” she responded, thinking to herself business is poor tonight.

Then looking at the man who was staring at her with a penetrating gaze, she asks, And you sir, are you all right?”

“I’m famished.”

Then as he walks toward her the man stumbles a little, pleading with a piteous desperation,

“So famished… I need… to eat.”

“Well sir, come with me then. But…” She halts mid-stride, right hand in the air, “we'll have to be quiet I have my cousin staying with me and I don't want us to disturb her.”

“Oh my dear,” the gentleman expands, “to be fed I will be as quiet as you could possibly want."

"Good.” The woman pronounces. Then extends her right hand, telling him. “I’m Della.”

He takes her Land gently and brings it to his pale lips, kissing the back gently, leaving the woman surprised at how cold his lips feel against her flesh.

“Hello my name is Wolfgang, Wolfgang DeFiscue.”

She blushes at his action, noting how his eyes are drawn to her cheeks as they suffuse with blood.

“Very well, come sir, then come with me."

And, introductions made, she takes his hand in hers, guiding him towards her rooms nearby.

Her home is an end terrace property. At the front door Della stands by the entrance, gesturing with her hand for the man to follow.

“You could be kind enough to invite me in?”

“Certainly sir,” she says, raising an eyebrow, “do come in, if you want to eat.”

Although obviously fatigued, he smiles a little as he eases past the woman. As she holds the door open he enters, saying to her, “Thank you.”

Then as Della closes the door against the dank London, foggy London night, she states, “The larder is bare, I’m afraid.”

Then, pausing a moment, she adds “But then I don’t think you like your food solid, do you?”

An eyebrow lifts, and then in a tone of mock incredulity he says to her, “I don’t know what you mean.”

Della walks ahead of De Fiscue down a small hallway, leading him into front parlour and, turning to him, she says, “ Well, first you materialise out of thin air; you won’t come into my home unless invited, and ...”

“Yes?”

“Well, look behind you, that’s the giveaway.”

Wolfgang De Fiscue turns around to see what she means – the mirror behind him doesn’t produce a reflection.

“Yes,” he admits, smiling ruefully, “that is a giveaway, isn’t it?”

“Yes.”

“But ma’am … I’m still so hungry, “ he tells Della, staring at her elegant neck as she removes the shawl from her shoulders, exposing a fine gold chain which drapes down and into the cleavage created by her ample bosom.

“'I know what you are,” Della pronounces, “but what I don’t know is why you need my … assistance?”

"It is simple,” he explains, “Since I was made into what I am … I have not enjoyed the chase … the hunt … and the kill.”

During the pause that follows Della interjects, saying, “Yes, go on?”

“So I’d find someone willing to exchange some money for my sustenance.”

He prowls the small room, hands clenched behind his back. "In Rumania I was a gentleman, with title, land and as much money as a man could want, or need. Then I was made … and …”

Again he pauses, remembering.

“It isn’t possible to run an estate when you can only go out at night, so I left my birthland and travelled here, seeking he who made me … to ask why he had." He looks at Della, his eyes pleading for understanding.

"I will feed you, after all I've had a bad night and I need the money,” she assures him, “but first you pay me.”

“How much?”

“Five pounds.”

“Certainly,” be says, calmly withdrawing a billfold from an inner pocket of his jacket and counting off not one, but two five pound notes.

He passes the money to Della, saying, “I do so need to feed.”

“So, do so …” she tells him, breathlessly.

Wolfgang to Della's left and reaches forward his right hand to pull her hair away from her neck.

“When you’ve had enough stop,” she murmurs, “I don’t want to die.”

“Don't worry, he says quietly, lowering his face towards her, hands sliding along the length of her throat, cool, yet gentle.

Della closes her eyes at his touch. She feels his hands on her shoulders as he presses down his sharp teeth, which puncture her kin and allow hint to feast upon her blood. Her breathing becomes shallow and rapid, and she can feel her heart beat faster as sucks slowly.

Della becomes more euphoric with each passing second

She opens her eyes as she begins to feel fatigued, pushing herself away from his tight embrace.

“Sir,” she tells him, his skin no longer as pale as it had been, “now you’ve been fed, it is time for you to go.”

He looks again at her neck with longing, “Yet still hunger.”

“I can't help that if you feed again I’ll will not survive.”

“But, I must,” he begins, his top lip drawing well away from his upper row of teeth, “I must feed so that I can continue to …”

“Sir," Della says indignantly, her voice rising a little, “I said I can’t help that. If you feed again I will not survive.”

He turns to face her, his face twisted into a portrait of steer malevolence.

“My dear, there is a darkness within us all, so do forgive me if I feed mine.”

He stares deep into the woman’s eyes, mesmerising her, as he says slowly, “You will satisfy my hunger so I can survive.”

Della shakes her head to clear away the fog that dulls her thoughts.

“Sir," she responds, “it is late and I am tired and you have had enough to survive.”

“Not enough,” he whispers, his words almost mandible to human ears.

“If you won’t be satisfied with what I offered you ...” she says to him, slowly backing away from his hands, formed into talon-like claws, “then …”

Della reaches to the chain that she wears around her neck and pulls it away from her flesh, withdrawing that gold cross that has lain between her breasts. She holds the symbol before herself and he holds his forearm up, shielding the hated object from his sight.

As he lunges at her, Della dives toward a nearby door, opening it.

The door opens to show the long, heavy chain, which rattles as the room's occupant turns to see what is happening.

“Now,” she shouts, “You said you didn't like the chase…”

'Ripping the chain and cross from her neck and throwing them to the floor, she enters the room and, assured of victory, Wolfgang follows.



* * *



Once inside the small room, devoid of all furniture except a bed, Della looks to her cousin, already hirsute. Smiling coldly, she turns to face her protagonist.

“This is my cousin Rose. She’s here to stay the weekend, the locals don’t like her.”

Rose snarls, pulling at the chain around her neck

“Unlike you, sir, she enjoys the chase … the hunt …”

Stepping towards the wall and away from her cousin's wolverine sight, Della finishes quoting the line that she’d heard earlier, “and the kill.”















COMMENTS

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'Car Watching - People Spotting.'

11:38 Apr 05 2005
Times Read: 1,133


'Car Watching - People Spotting.'



I’m stood at the roadside entrance to the bus-stop on King Street in Wallasey.

It has Perspex sides, set within a concrete framework; with a corrugated roof that is covered with bird guano of many types

The stops situated almost opposite The Brighton Pub, with the Borough Department of Planning & Economic Development building is behind me.

I'm looking at ate gargoyles on the roof of the pub, as dark clouds edge away the few white left in the sky

The first drops of rain falling on my forehead act as portent of the weather to follow.

“Isn’t it great, I’ve waited ages and now it promises rain.” I muse aloud, watching the clouds above, bored from waiting for my bus.

And having lowered my gaze, I begin to watch the cars as they pass me. At first I only observe their colour, the reds and the blues, yellows and green.

Then I notice their size and finally after several seconds, the face of every driver, as their car passes; and I find after a while, I’m making words out of their number plates.

One car, a small red one, with a brunette driving, passes by where I stand; it moves from my right to my left.

‘She has good cheek bones,' I consider as she passes.

Then the driver steers the car, first right, up the road adjacent to The Brighton.

As cars continue to drive past I watch the little red car disappear up the road.

Time passes, as do more cars.

About ten, or so cars pass and then the little red car drive past once again, this time driving from left to right, in front of the pub and down the road, toward New Brighton.



Perhaps it's that I want to believe, or perhaps it is an actuality, but I’m sure she looks at me as she drives past.



She briefly makes me think of a software package I use on my little peecee; name of Illustrator.

In it you’re able to inport and export PCX file extensions.

They are picture files and her registration had ended PCX, I'd noticed, as she had gone up the road opposite.

“Oh my,” I mutter momentarily, “She sure was a picture.”


COMMENTS

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A WALK IN THE WOOD

15:42 Apr 03 2005
Times Read: 1,137


A WALK IN THE WOOD





She walks in a regal fashion, this slim, light-skinned woman with long blonde hair that reaches almost to the base of her spine; out in the her haired Red Setter running a little ahead of her. The dog, Gatsby, is usually on a long leash bar it is a fine summer's day and Elin has allowed him his free rein, as long as he is within sight. Her white cotton dress, covered in small light blue flowers, billow a little in the light breeze.

Morning dew still sits on the long grass that springs tip at the sides of her sandals as she walk. Above the sky is blue, almost cloudless - she can see this through the overhanging foliage as she looks up the dog runs ahead.

As he does, the young woman calls out: “Go on boy, enjoy yourself.”

She thinks to herself he doesn’t know how lucky he is; he doesn't have to find money for bills; or go out to work to put for a roof over his head. No, she considers, he has all that paid for him; and he has his lady-friend down the road and can’t even find a date with a nice man who doesn't turn out to be married.

She recalls the previous night and the ‘she doesn't understand me’ routine that he pulled and then had the cheek to try and invite himself in for coffee. She smiles as she remembers the hurt look on his face just before she had closed the door on him. At least the night hadn't been a complete waste of time, she thinks.

It was once she had been atone again, with Gatsby being attentive having sensed her mood, that she had re-opened tile bottle of red wine in the fridge

Then this morning with a terrible hang-over, Elin had come for this walk with her loyal companion Gatsby, and she thinks; drawing herself from her reverie, where was he?

The dog had caught a scent that interested him, becoming momentarily alert. He ran ahead a little, then stopped at the foot of a tall tree as the squirrel that he followed scampered up its trunk, where it sat awhile on a branch as Gatstby pawed at the tree. Finally, tired of teasing the dog the squirrel leapt to another one nearby, leaving Gatsby very frustrated until his receptive nose caught another a scent on the wind that interested him. Intent on the fine day and her own thoughts, Elm had not noticed her dog run out of her sight. Now she panics “Gatsby where are you?” she calls again and again.

She hears answering barks to her calls in the far distance, where fir trees thin out and the path carries across the bottom of several fields to the left and the small stream to the fight. Then, as she walks on and the noise of the dog barking fades away, Elin finds herself alone and she turns full circle calling in all directions, but to no avail The dog does not answer, or return, so, following in the direction the animal had taken, she begins to walk, most anxious to find her friend and loyal companion. She ignores the brambles that catch at the hen of her dress and tear at the skin of her feet, causing small trickles of blood to run freely.



While Elin continues her walk a young man sits on the top of the wooden foot bridge, dressed all in khaki-green bar bar heavy black boots that he wears, swinging his legs a little as he looks down at the meandering stream beneath him. He looks at the water, taking time to appreciate the sunlight as it dances upon its surface, listening to the rhythm it produces as the water flows gently beneath the small footbridge.

He listens well to the lyrical music that nature is playing just for him and distracted from his current train of thought, he allows himself to smile a little.

The young man briefly muses on the stream's eventual passage to the sea and the long journey that would take it there, woeful once more at how hard the critique had been.

What was it that his friend Ritchie had said about his latest work?

‘Some characters are okay, but it’s bland and lacks substance.'

As an indictment of his work he thought that was damning, as that story had been wholly his, for a change.

"Sure," he said aloud, “water moves on, endlessly toward the sea…”

He throws a stick into the middle of the stream and wonders at its final destination.

Will it find its way eventually to the sea, he wonders, or will it become entangled and become part of a dam that might slow the water's egress? He saw the twig as himself, and the stream his life moving onward and now he was at an impasse.



And, it the silence of the wood, the woman’s lament wits heard on an ethereal breeze that blew through the leaves of a mighty oak which her hand glanced upon as she walked quickly in pursuit of her canine friend.



There is silence amongst the green of the wood as tears begin to flow silently down the woman's cheeks. Then, breaking this silence on a level that mortal ear cannot hear, a small voice proclaims: “It is sad.”



Lifting her hand away from the large, old tree the woman begins to follow the path that Gatsby had taken. Slowly small sparkles of light dance in the sunlight as it shafts through the green of the wood. They swirl and spiral and slowly coalesce, taking a form that is recognizably human The same voice speaks as moments earlier, although this time in a tone that a mortals could hear, albeit if that is, they ever listened to anyone other than themselves.

“She is beautiful. She shouldn’t be so sad.” The voice is still light as the breeze, and the speaker is now almost solid, having taken the form of a young woman, seemingly in her early twenties. She has a head of curly, green-brown hair that reaches to her shoulders in front, whilst cascading half way down her bark Her almond shaped eyes are the colour of darkest green, almost black, and twinkle as she looks all around herself. She has full freckled cheeks, a pert nose and full bow lips that pout as she calls: “Corwen, where are you?”

Her clothing is sensible office wear, albeit all green; the diaphanous blouse, tight A-line skirt and the nylon and heels. All clothing visible is green. “Corwen, I want to help her”



Once again sparkling light dances in the sunlight, shafting through the green of the wood, swirling and spiraling, until it also coalesces into human form; “You always say that and what happens?" the mouth, set m the front of what would be the front of fir head, atop the green body says to the young woman. That is all then is; a body, limbs and the mouth set in front – all are green.

“Finish,” she tells her companion, “I want the visage to be correct."

“Derryn just say that you want me to look human.”

“I want you to look human," she says with a voice that is almost musical in sound.

A face forms around the mouth, a young bright face, alert to the possibility of mischief

“I will look like one because I can, but I’m not one of them. I'm not like you,” he says, wagging a finger as his friend dances around him in a fashion that seems impossible in the high heels that she wears. “I don't want to be one of them."

“Qh, but they can do so much,” she tells him, draping a transparent scarf of the lightest green over the side of his face as clothing begins to form on the body that is now complete.

“They destroy our planet and give nothing," he say's to his friend in disgust.

“Oh, Corwen,” she says, still dancing around her companion; “they do build and they do create."

“They have wars and kill," he tells her, trying to stare at her with a fixed eye, but his friend will not stay still.

“But Corwen," she says, her toes moving fast, back and forth, right arm extended gracefully from her body as she dips at the waist running her left forefinger gently down his face, they know how to love.”

“And that's it, isn't it Derryn? That’s it. You want to be human" His face betrays his anger at the idea of losing his friend to the human-kind

For a moment the young woman's voice saddens. “Don't be so cruel Corwen, you know it's my greatest wish.”

"Why? We love, can love, do love."

“They are tall," she asserts, knowing that he will have an answer for this as well.

“We are small," he says, stroking at the tip of a stem of grass as a ladybird passes by, “but we can grow to their height, if it is needed.” And then, as if in triumph, be adds, “And humans cannot become small like this, like us, the folk of the wood, no matter how they try.”

Again Derryn pouts, as she knows that her friend is right. But there is something about them that she covets - their human like essence that makes them as one with the worst and best of all that her world is; where a caring she-cat will kill to provide for its young, whilst often finding pleasure in the thrill of the hunt. This is how Derryn sees mankind, rather than as it is.

“I’ll look like one for you, if that's what you want. But I won't be like them, they're the destroyers," he announced, clothing his now completed body with a skin-tight netting that appears as though it may have been woven by a Spider? Which, knowing some of Corwen's haunts, was likely.

“There is a side to humans that I like Corwen,” Derryn tells him, “they have compassion.”

Then she adds sharply, “Which is more than you’ re displaying now.”

He crosses his arms find looks to his friend, saying, “All right, nor subtle. What do you want me to do?”

“Help me, to help her."

“How?" he asks, with a hint of suspicion to his voice.

"I want to help her find direction, that's all.”

"So what do you want from me?"

"Well, you’re more adept at becoming things than me." she says slowly.

"I don't like the way this is going," he begins, adding, "so what do you want me to become?”

With a wide smile forming on her face, Derryn replies “A white rabbit.”

"A what?”

“Well, I can't do it. I never learnt and you’re good at transmogrification. So you keep telling me.”

“Er… “ Corwen stands open mouthed, hands on hips, "that's true! But…”

"Oh,” she pouts, then smiles the widest of smiles just for him, "Go on, for a friend.”

"But a rabbit,” Corwen says in reply the merest hint of a sulk to his voice, "'and a white rabbit at that"' he adds, with his hands in deep trouser pockets which have appeared for the purpose of having hands thrust into them…

"All I want to know " his voice drifts on the wind as his height begins to reduce and his colour begins to change, “is why do I do these things for you a Dryad who loves humans?”

Derryn smiles as her friend continues the transformation.

Then, as white fur begins to emerge from his body, she tells Corven: “Perhaps it is because you want to please me, my friend?”

Finally, almost a full minute later, the rabbit Corwen makes a sound of derision as he looks to her, with his nose twitching as he waits to be told what she wants of him next.

“Now,” she tells him, “we’re going to play a little.”

Corwen tilts his head, staring with baleful pink eyes as if to say, 'Now what?'

“I want you to find the dog and then have him chase you so you bring him back this way.”

He continues to stare for a second or two, before turning to hop in the direction that the woman has taken, moving faster than her and as fast as the wind that now carries her mournful cries.

Once her friend has disappeared down the path past Elin and into the bushes, Derryn turns a full circle on her toes in delight, telling herself this is a good idea.

"Games and fun, games and fun. There isn’t enough - not never for me." She sings as she turns again and again, her voice rising and falling as she chants out the lines.



Down by the stream, the young man who had thrown the slick into the water mutters to himself “it’s not fair~ I did try to be original. But really, I suppose that he was right"



Then he sighs as he stands, kicking at a stone and sending that into the stream.

He watches the ripples on the water's surface for a moment, and then begins to walk towards the entrance to the parkland and his journey home.

From some hawthorn bushes ahead a small grey rabbit emerges and passes by his ankles, then a larger white one and, smiling a little, he mumbles: “curiouser and curiouser” which he repeats a second time as a large Red Setter follows both.

He stares ahead as a disheveled woman runs towards him, calling out: “Gatsby!"

At his feet the rabbits run in a circle around him, and the dog continues running after them both, barking joyfully with the thrill of the chase.

“Er miss,” he shouts, reaching down wit bat hands to grasp the dog's neck, “Is he yours?”

Elin is breathless as she takes hold of the animal's collar. “Yes, he is mine and..." she manages to say before falling to her knees with Gatsby's face in her hands.



With the rabbits gone, they are quickly forgotten as he greets his mistress, licking her hands, as if to tell her that he has missed her.

Slowly Elin regains her composure find she looks uptlo the young man saying, “I’ve got to say 'thank you', haven't I?”

“Er, no not really, miss," he tells the blonde, as he turns his head away from the scene of reunion, feeling awkward and very embarrassed.

On her knees, Elin picks at the leaves find small burrs that cover the animal's once smooth coat,

"How could you run off and leave me like that?"

“It could have had something to do with the rabbit he was chasing," the man suggests as he pats Gatsby on the back, looking around for either, or both, of the rabbits, and seeing neither.

“And who are you?" Elin asks, resenting this man whom her dog seems to like as he stands still for the attention being shown to him.

“Well right now I'm a nobody," he tells her, still feeling sorry for himself.

“You don’t mean that,” she retorts, hearing a tone in his voice that speaks volumes to her, "after all 'they' say that everyone’s somebody."

'Yeah, right,” he snaps.



“C’mon, what's your name?” Elm persists, finger-combing her dog’s hair and adding, “After all, I'm not supposed to talk to strangers, so my mother used to say"

“My name's Brian."

"Well, hello Brian," she greets him, extending her right hand. “I'm Elin and this …” she says, gesturing to her dog, "is my companion, Gatsby.”

Brian takes the proffered hand and they shake hands in mock solemnity.

"So why do you sound so glum?" she asks brightly.

"Because I can't write," he informs her.

"And who told you that?"

"The guy who reads my stories,”

"And is he the only one to read them?" she asks.

"Er, presently, yes -"

“Well, don't take it to heart whatever it is, I'm sure it isn't really that bad," she assures him.

"So you say."

“Grief Brian, you’re hard on yourself. Why beat yourself up like that? Surely there are enough people around willing to do that for you?” she asks, smiling.

“Oh, you don't know, you haven 't read the latest one. That stinks."

“It can't be that bad.”

He sees her smile and slowly he returns it with one of his own, albeit very hesitantly.

“Thanks for that. And, yes, you’ re right, there are plenty.”

"So,” she tells him, “don't be another one.”

“Er, yes miss," he responds with mock humility as she stands up, Gatsby between them.

Then, as he looks into her eyes a moment Brian catches sight of a long silken thread dangling from a branch just behind the young woman

"Tell me,” he begins, “what is green and yellow and has lots of legs?"

"Er, I know, is it a caterpillar?” she asks, a fearful edge to her voice.

"That's right," he says with certainty, adding, "and there’s one in your hair."

“Eeargh” she bawls, waving her arms about, “Get it out, get it out I hate them.”

"Hold still," he tells her calmly, “and then I will he able to get it out for you.”

Abruptly the blonde stands stock-still staring fixedly at Brian as he reaches toward her long blonde hair with his right hand. Then gazing into her ice-blue eyes, he delicately picks the caterpillar out of her hair between his forefinger and thumb, before turning away from Elm to deposit the small creature on the tree nearest to himself.

"There you go little fellow, there you go.”

As he turns back toward Elin he isn't aware of Derryn's annoyance as she walks up the trunk and then away from the couple, irked that she could be mistaken for a male caterpillar.



But, at least it provided that initial contact, she thought, resuming her human-like appearance well away from their presence, wondering where on earth her friend had got to.



"You must think I'm stupid coming into a wood being scared of caterpillars”' she heard the woman say.

“Of course not Elin," he had answered as Corwen stepped behind her, repeating in I mocking tone: "Of course not

Then, as he takes his friend's hand in his, he says to her “I see, you become I caterpillar and I get the rabbit, and I get the feeling that I got conned.”

“Why?” Derryn asks her companion.

“Did you know that the grey was female?”

“Er,yes.”

“Ah, then thank you for nothing."

"Why?” Derryn asks, a slight smile to her face.

"Let’s put it this way, as a caterpillar you have urges to spin silk threads and eat leaves, don't you?”

“Er, yes," Derryn replies smiling, already able to see where this is heading.

"Well, somewhere in this wood there's a very contented small, grey rabbit.”



And as Brian and Elin continue to talk and walk slowly out of the wood, with Gatsby at their heels, light musical laughter echoes through the wood on a zephyr breeze.


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