| caterwauls | meanderings of a peregrine mind |
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| writing creative writing original writing original screenplays original novels original stage plays script excerpts lesbian novel movie screenplay |
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Trephining
is three novels; Deadly Nightshade - Riding Pegasus
- A Place in the Sky
- following Harry Dexter, a schizophrenically challenged police detective. Harry works to solve a murder among the rich and powerful, while desperately trying to maintain his identity and hang onto his sanity. Harry tells you the story himself, but is he losing it? Is he in touch with reality or is fantasy protecting his troubled psyche? And more importantly, Dear Reader needs to make a decision; is Harry Dexter telling you the truth?
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| excerpt from Deadly Nightshade | |||
1st book in the trilogy - Trephining |
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| © R.C. Westerholm | woody nightshade |
from my novel Acts of Empathy recited by character Rachel . . .
And
silver flows like honey, liquid in my dreams, And all
the sunbeams sending down their diamond studded swords, © Dahlia |
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from my novel in progress Pelly and Miramar Miramar don't care. She's prob'ly out havin' a good time right now. Party Princess. When they find my body squished under the wheels of one of them huge trailer rigs, she'll cry then. Or will she? The highway meandered between rolling farmlands and stands of dark trees. A scattering of cars hissed by. Lazily. Dark clouds rolled overhead, muting the countryside in a moody light. Pelly Boyes continued mumbling to himself as he waited for a semi. A big rig would end it quickly. The last thing he wanted was to end up a vegetable and have nurses feeding him through tubes, not being able to tell them he wanted to die. One blink for yes. And Miramar giving him that sick, 'you're so stupid' look. Again. The doctors trying to repair the sack of bones that had been dragged under a ten ton truck. Pelly had to make sure big fat double tires got him right away. He stood on the overpass above the fast lane on the far side to oncoming cars, away from the view of an approaching driver, pressed against the rail, watching for the exact right truck, ready to drop as the vehicle drove under the highway bridge. No driver could react quick enough to avoid him when he leaped. Just a blurred shape in front of the bumper. At twenty-four, it was all over for Pelly Boyes, he had nowhere left to go. His cash flow flew. The angle he had hoped for never appeared to him. Too many little shit deals that went sour. Scammy deals doomed from the start. Pelly mumbled to himself, "Too many small time assholes who you can't count on. Like Midas the Fink. Damn Midas. I shoulda shot you Midas when I had that gun, tellin' the cops all that shit about me. There's no way into the loop for a guy what no education, no chance of getting wherever it was I was tryin' to be gettin' to. And Angel supposed to tell me when he's gonna 'lectrify a horse, some jockey friend you turned out." Pelly wanted to go now. Make the exit from humanity. Couldn't pay his debts and Sal Mungo didn't tolerate late payments. A guy called Crunchy was looking for him right now. The worst of all Miramar was gone. She clinched it when she ran off yesterday with that big city dork wearing a fancy Western suit and a blue Mercedes. And pointy-toe Tony Lamas. She flashin' her green eyes at his crocodile wallet. Damn drop-dead gorgeous Miramar. Steppin' out of a forties movie. But gawd she has that Forties style. What does she like about that so much? Glenn Miller for chrissakes? Pelly stared down at his worn shoes as the first few drops of heavy rain spattered the pavement, absorbed into the concrete. Then the ominous dark Cadillac caught his attention. from my novel Pelly and Miramar.
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from the entrance to Commodore Bowling and Billiards, Granville Street, Vancouver, B.C. established in 1930, Canada's oldest bowling alley. Painter unknown |
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Pelly and Miramar is a quirky story about two people destined for each other but don't understand it yet.
.... be careful Pelly,
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I cannot and do not live in the world
of discretion, not as a writer anyway ...
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from my screenplay - Nashville Dreams
| The bullet ricochets off the steel
boxcar, the sound zings away. The trio crouch atop the train in one
motion, FDR's eyes wide with fright. They're watching the speeding car
beside them, helpless to evade. JACKSON If them guys ever stop to aim, we're goners. ELIJAH Well they ain't aimin' t' stop. They lie flat atop the boxcar. The road beside the tracks curves away and the automobile disappears behind a cluster of roadside trees. The road heads into a long slow curve toward a trestle in the distance, crossing a calm green river. JACKSON
That car out there's gonna cross this river somewhere too, an' then the
road'll join up ELIJAH The river. Yep. FDR You mean j-j-jump for it? JACKSON Them hillbillies in that car gonna get beside us again an' get a good
shot. We're FDR (wide eyed) I d-d-don't th-think I can j-j-ump. ELIJAH You got twenty seconds to decide, Boy. This be our only chance. The river appears deep and slow moving.
The road is no longer in sight, The train nears the trestle. JACKSON
Quit lookin' at me like that. You're all grow'd up. A free man you
keep sayin'. You ELIJAH Didn't say nothin', man, you jus' feelin' guilty. FDR You jumpin' Elijah? ELIJAH I is jumpin' boy, socks need a wash anyhow. JACKSON (studies the river) It's all in the timing. They brace themselves as the train starts across the old
trestle, clutching their instruments and bags. JACKSON We can't forget your dog, FDR. FDR turns to look at Jackson, surprised, FDR My d-dog? I th-thought he was your d-d-og. Elijah grins at them both and suddenly leaps backwards into the air.
© RC Westerholm |
| from
Nashville Dreams - an original screenplay
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| Synop - Songwriter Jackson McDill wants be a country music star, and with his two new found buddies, old Elijah the banjo plucking hobo and young stuttering FDR, they head for Nashville. The trouble is, they are stone broke and have to hitchhike, ride the rails or walk, and everyone seems to be conspiring to prevent their success. A hilarious road adventure full of fun and fright that changes everyone, including the dog, Whistlestop. |
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reg. Writers Guild Canada # S00-3278 |
| War Poem |
| written by character Nathan in my novel - A Place in the Sky |
| excerpt from my comedy stage play - Talk About Love |
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from Act II - scene 2 the conversation at the kitchen table continues - - - SHE: So you're saying the Elvis sightings are true? HE: Yep. The King has NOT left the building. Elvis is free now and doing just fine, he travels the back roads and enjoys the countryside. SHE: I believe you. HE: Eats at Diners. No pressure. SHE: Except too many people still recognize him? HE: Exactly. He was getting noticed way too much. Not in the Diners though ... (Then with authority) 'cause them folks are close-mouthed, don't tell you nothin' ... SHE: Secretive are they? HE: But when he gassed up the Caddy, the attendants, they recognized him. SHE:
Even with the shades?
HE: Yep. And he hardly ever puts the top down. SHE: No white glitter suit?
HE: Just jeans and a jean jacket.
SHE: He
wasn’t even humming?
HE:
Honey, nobody HUMS 'Hound Dog'.
SHE:
But he still has a Cadillac convertible?
HE: He drives an old '59 Eldorado Bairritz. SHE: He does huh? Would that be a pink one??
HE: Nope, blue. SHE: Are those the ones with the airplane tail fins? HE: Honey, ALL ‘59 Eldorados have massive tail fins with the twin rocket tail-lights. (HE holds up two hands as if feeling the roundness of the twin rocket tail-lights, looks at her breasts and widens his hands with a grin. SHE responds with a warning look) SHE: So Elvis thinks a blue Caddy is incognito? HE: (Nodding, explaining) And when he went in to pay for his gas, they always knew it was him, even though he’s lost a lot of weight. He was getting tired of it so he bought the monkey ... SHE: Bought the monkey. HE: Elvis found an old Italian guy who had been an organ grinder and he had this trained monkey. But with music being digital now ... he was out of work because wind-up street organs don’t play that stuff. SHE: Really. HE: Right, and Elvis made him an offer for the monkey. SHE: And Giuseppe sold him? HE: Yep. Including the military jacket with the yellow epaulets and the pill box cap. SHE: Such a deal! (HE makes a furtive action, folding up his collar, looks at her sideways over the collar. Twitches his upper lip) SHE: And they lived happily ever after? HE: Wait. It was working out fine, Elvis even trained the monkey to fill the gas tank and then go pay, so he wouldn’t even have to get out of the car ... SHE: Just sat there gunning the engine. HE: So one day, the damned monkey forgot to replace the gas cap ... and Elvis could smell gas when he cornered because it would leak out. Of course, the little monkey only knew the tank was full when it overflowed! SHE: Spilled all over, huh? HE: So until he could get another gas cap, Elvis made the monkey sit in the rear seat and plug the gas tank opening with his long tail ... SHE: I see. (SHE is staring at him like he is nuts, shaking her head. She looks into the audience for reaction. HE is intent on his story with sincerity) HE: Yes ... which would have been ok, but you see the poor monkey, because he was such a furry lil’ critter, had, in effect, become a huge wick ... SHE: (glances into the audience) Don't keep us in suspense. HE: And when Elvis lit up the cigar!
SHE: Oh my gawd!
HE: Exactly. SHE: Poor monkey. HE: Elvis could only find the pill box cap. He’s using it for parking meter change. SHE: You mean Elvis wasn't blown up too? HE: Honey, get real, nothing can kill Elvis! SHE: To think ... I actually married you.
© RC Westerholm |
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The writers only responsibility is to his art ....William Faulkner
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excerpt from Riding Pegasus 2nd book in the trilogy - TREPHINING DAY 1 Monday
T hat morning you wouldn't have heard a scream across the broad green lawns surrounding the asylum. The hissing rain muffled other sounds as though concealing a whispered secret. Was accompanied by a stealthy floating mist you could hardly see through. The white painted lawn chairs looked forlorn, desolate. Even the dark trees seemed hunched over, protecting themselves against the cold foggy drizzle and the gaze of the curious.If Marie hadn't been there to help, I might have blown everything. I might have had to stay in the asylum. Might have been better if I had. Five people would still be alive. That morose morning, Dr. Fredrickson was supposed to be there to sign my release papers at 10 a.m. My incarceration in the regional mental hospital for the criminally insane should have ended then. He was late. There was nothing to do but wait. Sit on the hard oak chairs and wait. A few hours longer wouldn't make much difference. It was like a dream state. Sitting there watching occasional lethargic movement from the nurses, who seemed to murmur without moving their lips. Sometimes a sibilance reached my ears but I could never identify a distinct word. The nurses became unfocused white blurs against the pale green walls. And rustling hosiery. I stared at a framed print entitled Road with Cypresses, by Vincent Van Gogh. It should have created a simple impression of light and pleasant color, something to relax the inmates. Or, if you knew nothing of the artist's life, a sense of hope. I saw it as dizzying frenetic swirls and the impression in my mind was of the bloody side of the man's head and the anguish that raged within. A violent, coloured Rorschach. While we sat there waiting, two thoughts dominated my mind, freedom and time. I regard them as closely related. Freedom. I don't define it from a patriotic charismatic point of view, as in a national anthem sense, that's liberty. Freedom is different. I feel it as a selfish, lustful, personal greed. Freedom is to be alone without someone watching you, without guarding yourself, without analysis and squinting eyes. Freedom is letting your face loose. Laughing at what's funny. Frowning at what isn't. Not having to think about a decision or it's consequences. No black tricks to play, no blue subterfuge. No green games. Time. During my twelve-year imprisonment, (for murder, I might as well tell you right out) I hardly thought about it. To a man sliding through his forties in a nebulous haze, time was oppressive. Time was heavy, draped around me, over my shoulders as a dusty old Persian rug, rolled with a dead body inside it. And I hadn't considered it with any intellect for a long, long while. By eleven o'clock my thoughts about freedom and time were so acutely centered it was a psychedelic LSD trip. I could SEE a moment moving through history. Seconds were flickering scarlet laser beams which came FROM infinity and blasted right past me on their way TO infinity. A sudden blinding SOS from an obscure corner of space, or the view inside a fibre optics cable. And I could HEAR time. A speeded up recording of thunder, bump bump bump, and somehow it smelt like burnt firecrackers. Freedom was very nearly an explosion. I was the inside of the grenade. Fredrickson showed at 3:37:20 in the afternoon. The gray-black sky had become confused for several hours until a bright white light emerged between the clouds, almost at 3:30. If that wasn't a sign, I don't know what was. I finally walked away from that sullen gray building without a backward glance. If it was still there when Marie and I drove off I wouldn't have known it. Besides, I didn't want to meet Fredrickson's eyes, I knew he was watching, his face near to the misted window pane, absently touching his moustache. I knew what he was thinking too. He wanted me to turn and wave, like a child going off to the first day of school. He wanted me to smile up at him. He wanted confirmation he was right - that during the five hours thirty-seven minutes he had delayed, we had been playing the final Green Game. No way. Our minds are now inexorably linked. I wasn't even going to acknowledge him. Psychiatrists betray their own emotions, they're so concerned with yours that they let THEIR thoughts hang out like Chinese laundry on a bamboo pole. They don't even know they do it. I always knew what Fredrickson was thinking.
© RC Westerholm |
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RAIN
I scowl grey paste overhead more rain I forgot the umbrella head bent toward the grey sidewalk hunch shoulders shut out the depression try to avoid the murky puddles water falling from the sky free life some never get any look at the passing faces blank. not seeing through the droplets clusters of detached strangers only water it's not that dark. a drop on my nose hanging there I must look silly is it going to drip off little teasing bulb clinging to individuality humorous transparent prism cartoon character I smile it's only water look up into the sky more cool rain on my face fresh water fold my collar down set myself apart from the depression. I'm not going to work today
I'm going to walk
I grin r a i n © rcw |
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from - A
Place in the Sky 3rd book in the trilogy - TREPHINING
We listened, trying to hear a footfall
beneath the mutter of the wind. Stood still, expecting something to
happen. Dry tree branches rattled and fern fronds flailed at the edge of
the clearing where a capricious wisp flashed through. Scattered petals
from a yellow blossoming bush swirled to the ground like lemon snowflakes.
I could hear a crow somewhere, its scolding voice carrying on the hot air. © RC Westerholm |
| The astonishing tangle within our heads makes us what we are ....Colin Blakemore |
| from my novel Tango Murderoso |
McGrath's heart leaped. Willie thought a moment. "Don' know, I waited outside." Willie was genuinely confused with the sudden influx of knowledge and his mind couldn't process it. There was excitement there but he couldn't fathom the implications. He needed time to think.
McGrath's
voice took on a hard edge and his eyes bored into Willie's. "Bullshit,
Willie, he would've had you help him." "So you mean he packed all those bags in by himself?" McGrath's voice was rising. "Incredible, that's what he paid you for." "Fuck you, I wasn't his Joe-boy y'know. I handled other jobs for 'im." Sure, McGrath thought, you were nothing but his strong-arm. Too stupid to be involved in anything cerebral. "What'd he say about them, the bags then?" "Said they were a surprise for Cassandra, didn't want my help." "Didn't you even ask him what was in the fuckin' things? I don't believe this." "Fuck off, he said it was a surprise. Sure I aksed him but he goes, 'you'l find out later?. I never thought about it after. Forgot." McGrath knew he was going to lose ground once Willie figured he didn't need him. He'd start lying. If he wasn't already. He had to find out where those bags were hidden. "Wait a minute, I've got a sheet of paper here to show you." McGrath leaned into his car, Willie behind him. McGrath imagined Jose Canseco stepping out of the batter's box to swing at a pitch-out. He twisted away from the car with the baseball bat in his hands and slammed Willie in the head with it. Blood splattered. Willie reeled across the alley and went down in a daze amid garbage piles. McGrath hit him twice on the knees with vicious blows. Quickly had Willie's jacket open and the gun removed, slid it into an inner pocket of his own coat. Willie didn't make a sound, he was numb but regaining consciousness. McGrath stood over him, sweat dripping from his brow, fiery anger in his eyes. "Now Willie, where'd you and Condy put the fucking BAGS?" |
© RC Westerholm
Tango Murderoso is also written as a screenplay
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Poetry is the spontaneous overflow of powerful feelings: it takes its
origin from emotion recollected in tranquility .... William Wordsworth |
Home is in the mind
Where Now is Home?
Copyright R.C. Westerholm
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from my novel Acts
of Empathy
We
made love on that huge bed in the innocent, muted, white morning light;
in the sylph garden amid applauding flowers on motionless turquoise
afternoons; on those soft lounges before a conflagration of sunsets and
in the hushed scarlet of descending twilight; on the veranda watched by
smiling blue stars and white
porcelain
moons; in the shower - one undine stooping in the cascading water and
the other clutching the shower curtain until I tore it down in a deluge
of watery passion; in every chair and sofa; atop the piano to a
crescendo of chromatic screams; in the kitchen on the counter top amid
the aroma of tangy herbs; contortively crunched into the nook; sitting
on the bar flavouring ourselves with Grand Marnier liqueur. We initiated
every room in the house with a delightful, instantly recoverable, erotic
memory. Spent effusive days and nights intoxicated with the elixir of
each other.It was the perfect coalescence of two wanton insatiable beings rising through the physical world into the cerebral purity of psychic sensualism. It was the clarity of love. © Dahlia |
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Read the entire first chapter of Acts of
Empathy here ...
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| THE BIRTH OF LONELINESS |
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Robert sailed on. Tonight he was aboard a square-rigger. On the Indian Ocean bearing tea from Ceylon, bound for Olde England, running on a freshening breeze from the starboard quarter. Robert was captain. The high moon, lighting the billowing canvas with an argent glow, was almost as bright as day. His alert eyes, shadowed beneath the peak of his cap, caught the sleek splashes of arcing dolphins in a luminous sea. The trade winds that pushed the hull through the hissing rush of water flickered Robert's hair at the back of his neck with a warm caress. The sensuous flirtation of a capricious breeze. Four bells told him it was 2 A.M., halfway through the mid-watch, one of his favourite hours in the tropics. The snapping of the British standard from a halyard, the creak and groan of wood spars and the strain of rigging were reassuring voices whispering only to him in the night. The green tea in the brimming holds occasionally wafted an Oriental scent and brought to mind Asian ports full of mysterious, turbaned Indians and busy Chinese with sing-song voices. Robert liked to stare up at the latticed tangle of rope and masts silhouetted against tendrils of moonlit cloud. And to feel the cool spray that occasionally reached his skin, tossed by a playful sea. Mrs. Reynolds' squeaking chair interrupted Robert's reverie. She made a comment to her husband in a shielded voice, who just sat and puffed his old briar. Nodded. Robert disliked both Mr. and Mrs. Reynolds. The man was so florid and flabby and she was so slovenly they would never have survived aboard ship. But Robert wasn't really on a ship, he was only pacing through the evening until his mother came to collect him from these unlikely babysitters. He was simply imagining. The creaks and groans were just the uneven floor and the latticed rope was nothing but straggly washing hanging over the stove. What he loathed about them was that they had so little to say except to ask him questions about his mother. And Mr. Reynolds had pipe breath and she smelled of stale sweat. When he tried to sit and read, they continued talking to him. They didn't comprehend reading, didn't even own a book or a magazine. Robert tried tacking toward the china cabinet, increasing wind strength as he neared the east coast of Madagascar, but it wouldn't work now; he was simply walking round and round the single room of the Reynolds' apartment. Waiting. Seeing only the worn grey linoleum instead of a glistening sea. Wishing Mother would get off work early, come soon, instead of like last night when he had to fall asleep on the hard wooden chair and awoke sometime later, he didn't know how much later, with terrible pains in his side from the chair arm. His mother telling him to wake up. Thanking the Reynolds profusely and paying them before she took him off into the cold damp night. Robert knew what these people thought. They thought he was not right. Because he either read the book or paced most of the evening. The book was Zane Grey's, Ken Ward In The Jungle. A wonderful story about a young boy whose father took him to the South American jungles to explore an unknown river, where they ran over dangerous rapids and into huge crocodiles and spotted jaguars. Robert had read it five times so far. He was hoping to put off reading the book again a little longer so he'd be able to forget how it went. It was only a matter of time until he discovered Robert Louis Stevenson, Mark Twain and Joseph Conrad. Robert tacked to starboard, toward the small green tiled bathroom, then immediately to port, to avoid the strong odor emanating from the running toilet. The alcove where the Reynolds slept smelled musty. He yearned for his own bed but he was too young to stay home alone. Even though his house was just up the lane. He had stayed alone once, left most of the lights on and tramped around the house, talking gibberish in a lowered voice so he'd sound like a big man if anyone was listening outside. His mother had found him asleep behind the chesterfield. The wind increased and Robert, as Captain, knew they'd have to prepare to 'round-the-Cape' soon. The Cape of Good Hope at the tip of Africa. They'd have to shorten down. Perhaps the impending storm would allow him to see St. Elmo's Light playing on the mast. "Haul away lively," he muttered, slipping the words out quietly. Yet they reached even the inattentive ears of Mrs. Reynolds, who spoke to her husband about Robert as though he wasn't there. Yes, perhaps Robert wasn't there. By choice. Perhaps these nascent hours spent lost in dark imagination or illuminated book were instilling a mental process into his future. A means of escape that would last a lifetime. Which could never be shared. An escape from a reality too bleak to be faced. Since his Grandmother died he had hid silently within himself. Dreaming. Traveling. And grieving the gentle, understanding woman. Maybe he would get a letter from his father tomorrow, he'd had a letter last year at this time. They'd be loading mail when the ship reached Mananjary. And cross the Tropic of Capricorn the following day. Robert sailed on, past the worn old sofa and the dish-filled sink. The whistling tea-kettle became five bells. Perhaps he would finish the midwatch from the stern where he could observe the glinting silver foam and stars dipping themselves into the roll of the black, following sea, becoming its phosphorescent trail. Bright as fireworks to night vision eyes. He'd allow the sounds and smells and sights of the oceanic night to transport him into his private oblivion - and be embedded there for reference and escape from whatever torments his future held. Tonight he'd try to see another blue star. Tomorrow ... End
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from Riding Pegasus 2nd book in the trilogy - TREPHINING excerpt from Day 8
Cinny
said, "Is Doc on the way? Did Michael call him?"
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| from chapter two of my novel Acts of Empathy |
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Firenze |
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Shawna fixed a peculiar look upon her countenance. Spoke, "Therése, you really want to enjoy Florence and Italy, right?" "Of course. I am too. Why?" "Are you studying it more and enjoying it less?" She held an angled smile. "What do you mean?" We strolled through the tourists and clapping pigeons into the adjoining piazza San Giovanni. "Come with me." Shawna took my hand and I followed her across the square, past the octagonal Baptistery of Saint John the Baptist, with its bronze Renaissance doors crafted by Lorenzo Ghiberti called 'Gate of Paradise'. She confiscated my little guidebook and handed it to a boy-child, who immediately rushed off to sell it. "Shawna ..." "Sit here, with me." She picked a shaded area and we sat close against the side of a cool building, looking across the space at the constant flow of people around the cathedral of Santa Maria del Fiore and Giotto's magnificent bell tower. "Do you notice, Therése, how the Florentine air seems to sparkle here? It's clearer. Cooler. Laden with oxygen. You could spend hours looking at that tower and never tire of it. The designer meant it that way. He didn't care if you remembered what year it was built, or what architectural style, or maybe even who he was. He wanted the world to enjoy it. Forever if possible. That's why he faced it to the sun. You detract from his dream by studying it too carefully. Let the drudging scholars and the dusty historians do that. The tower should take a lifetime to reveal itself to you, that's why you return to Firenze again and again." I was beginning to understand.
She continued, "The Italian's don't
save vintage wine for a hundred years in dank cellars, they drink it now.
They don't baby their Lamborghinis, they
drive them. And they don't eat spaghetti out of a can ... enjoy the
moment, Therese, this IS the moment. If you know nothing of the artist,
does it diminish your appreciation of the work?" "I believe you're right, Shawna. I do. It is so beautiful the details don't matter." She took my hand again. "Get an attitude, Miss Lambikins, believe you are the center of the universe and everything revolves around you, because it's true." We watched a vivid life passing, like coloured planets in a bright galaxy, each with its own orbit. "I understand what you're saying, Shawna. If I think about it, like, the true history of the world is in my own head, my own memory." "Exactly. It doesn't exist if you don't know it." "Yes. I see, you have to let it happen to you." "Now you're living, Therése. The moment before you die, there won't be anything else." She grinned at me, relaxed. "Let's sit here a while. Someone will come and sell us ice cream soon." A pair of sightseers was looking toward the church, thumbing quickly through their guidebook, backpaging and forwarding, desperately trying to find information. They hardly ever looked up at the magical edifice before them. A tour group placidly followed a guide across the square like a kindergarten class going home after a field trip, unseeing and unhearing in their weariness, unable to revolt and run for it. The little Italian boy shrieked after he sold the guidebook and ran off like a gazelle into a shadowed narrow stretta. Another man was trying to photograph a panel of the Door of Paradise close up, seeing the sculpture only in terms of the angle to record it. Wondering what the picture would be like when he got back home. Tourist. We were sitting in a particular spot that was never sunlit and the stone was cool. There was something unusual in this light of Florence, this artist's light. My outlook was changing. Shawna said, "Can you hear that, Therése, that hum?" I listened a moment. Detected the soft buzz of traffic in the background, on the Via Della Scala, said, "I think so, yes." "That's not traffic, it's the hum of life, the murmur of creativity and it was here seven hundred years ago." She folded her knees up and leaned across them. I watched her out of the corner of my eye as those brilliant blue orbs saturated themselves with the essence of existence. It was as though she was drinking from a well with her soul. Two lovers in pure white slowly crossed the square, arms around each other's waists, looking downward in the dreaminess of lovers' thoughts. They didn't even see the tower or the people. The universe revolved around them. After a while a man approached pushing an ice cream cart, looking expectantly at us as he neared. "Gelato?" Shawna winked at me and said to him, "Do you have licorice pistachio pineapple?" His face dropped in dismay, "No. Have only la cioccolata e vanilla." She grinned that captivating crooked grin and said, "Due cioccolata, per favore, and big ones too." The ice cream had come directly from God. © Dahlia |
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Acts of Empathy ... Synopsis
- A young widow traveling
alone in Northern Italy meets a lesbian, faces death, falls in love and
discovers herself.
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You're neither
unnatural, nor abominable, nor mad; you're as much a part of what people call nature as anyone else; only you're unexplained as yet - Radclyffe Hall - Well of Loneliness |
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| Let's Kill Auntie Lena | Fifty's Long Enough |
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Let's kill auntie Lena, let's chop up her head, and then uncle Harry, let's make them both dead. Let's get a great big knife, to stick in her heart we'll wait till she's sleeping, and cut her apart. Let's shoot uncle Harry, when he doesn't know, we'll dig him in the corn patch, to see if he'll grow. I love auntie Lena, and like Harry too. But I won't go to bed now, there's nothing to do.
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Fifty's long enough to live when your heart is broke like mine. A lifetime's just too much to give when you're long past forty-nine. When the days 're gray an' the nights don't pay an' the years keep draggin' on. Fifty's long enough to live an' you might as well be gone.
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excerpts of song lyrics by R.C. Westerholm
| from my stage play - The Ride |
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from SCENE I - in Big John's pool hall
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| (Big John sighs with frustration)
BIG JOHN;
Randal, I not be sharp guy like you You boys go out to having
fun wit' girls. Not too hard life, eh? Good. (They all keep a respectful silence a moment) JERRY DUNN; Hey John, what was Frenchy's real name anyway? BIG JOHN; Frenchy? JERRY DUNN; Yeah, what was his name? Was it French? Pierre or something?
BIG JOHN:
He was good boy, speak two language. JERRY DUNN; Was always sayin' merde, means shit in French. HAGLER: Frenchy died with liquid shit in his veins. BIG JOHN; (thinking) I never know his real name. HAGLER; Damn, none of us even knew what his real name was. JERRY DUNN; It matter to you. Hagler? CALLOWAY; Prob'ly don't matter to nobody. HAGLER; Frig off, Calloway. (Big John takes the unlit cigarette out of his mouth)
BIG JOHN;
You boys listen. You don't t'ink it matter? Somewhere in Montreal is a
mother waiting for Frenchy to from SCENE II ... later (Wallace returns from Phil's) WALLACE; You guys. Phil ain't comin' .... He's ... (takes a deep breath) He ain't goin' nowhere. JERRY DUNN; What? WALLACE; He's just .... dead man, he's ....... bloody well straight assed dead. JERRY DUNN; Nooo. CALLOWAY; Phil? Dead? (Hagler and Jerry simply look at each other, having a hard time believing the news. Calloway is shaken) WALLACE; I ain't lyin'. He OD'd. HAGLER; Wait a minute, back up, Wallace. JERRY DUNN; Yeah, how do you know for sure? WALLACE;
When I got to his house, an ambliance was there awready, takin' him
away. His Mother cryin' .... HAGLER; But are you sure he was dead? WALLACE; Neighbours all out there watchin' .... his ol' gray Dad .... just sittin'
on that raggedy old porch .... CALLOWAY; Maybe Phil was only unconscious? JERRY DUNN; Yeah, maybe they were just takin' him to the hospital? CALLOWAY; That's what happens, ya sorta go into a coma. JERRY DUNN; Jeeze, I feel like poundin' Phil's face in. HAGLER; You shittin' us, Wallace? Don't fool around with this. WALLACE;
No shit. The white sheet was up over his head. He was strapped
down on that stretcher. I .... I seen his .... from SCENE III... later
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The Dream Here's my dream: I'm living in this huge old house in England and ... No, wait! I'm riding my motorcycle first. The black one. It's very dark but moonlit and I'm flickering through mottled shadows on a country road bordered by tall trees and a latticed canopy of branches. There is no colour, like an old black and white movie. I'm speeding. Fascinated by the ground shadows and not even looking ahead to wherever it is I am going. I have no headlight. I am a shadow, without sound, without structure. I'm not even sure I can be seen. Or if I am there at all except when a fallen leaf overturns in a gust as I pass. I'm an amorphous shape. In my head I hear a squawky rasping wailing plaintive Eric Clapton guitar. Like he's playing on the other side of those forbidding black trees. Then I arrive at my house. It is still. Graveyard quiet. Very late. The lambent light is silver yet darksome and the blacks are those brown-blacks of an Ingmar Bergman movie. The house is one of those great half-timbered manors you see in old country England, Devon or Cornwall, grey slate roof and many chimney pots. I have to put the motorbike in the garage which is not really a garage at all but a tiny room at the west side of the house, down five or six stone steps. I work it through the narrow entrance. Then I make my way into the main house toward my room. The long building angles around in an arc, so everything faces onto the broad sloping grounds, each room leads through a wide archway into the next. Everyone else is sleeping upstairs in one of the fifteen bedrooms. My own small quarters are in the far east corner of the house. I have chosen this room. A garden room half sunk below ground level like where my bike is. It has leaded diamond-pane windows allowing me to look out onto the expansive lawns and I can stand there and see through the bottom of the shrubbery and no one knows I'm even there. It's more like a filled-in porch with rough boards washed an odd, transparent white. Rampant garden plants invade and vines struggle through wall cracks. The dimness is half-lit by a tall street lamp though there is no street outside, only drifting lawns which disappear into faraway stands of dark, funereal trees. If anyone furtively crosses the cool grass their shadow is cast upon my wall by the argent light and I can see who's out there. I fear a burglar may enter and I realize my Bowie knife is lying on a ledge right beside the door where my bike is. Accessible to anyone who may enter. The original bone-handled Bowie knife with the gleaming blade and the leather sheath that I changed from brown to black with shoe dye.. I float back to the murky room where my motorbike is. It has been moved and I am afraid when someone comes in they'll scratch the gas tank so I rearrange it, putting it close against the cold concrete wall. The door is now wide open too, leaving only the flimsy screen door to repel the crooks so I re-close it and head back to my room. I think something is odd in the nightclub-living room but my two nephews are there now and they perfidiously deny it. It is too warm in there to be silent and still as though nothing was happening and who are these manikin people? My tall nephew smiles and assures me that nothing is going on. Really. The other, without removing his hands from his pockets just shrugs with impudence. They glance conspiratorially at each other.
I make my way again through the morose gray lodge room to my own room, just realizing when I get there that I didn't collect the Bowie knife. I have to go back. And this time one of my nephews is on stage like a master-of-ceremonies in some bleak Hamburg production of Cabaret. Wearing a gray suit and a white buttoned up collar without a tie. Surrounded by smoke and fog the colour of tarnished silver. The two of them grin with feigned innocence and tell me once more nothing is happening but when I get to the motorcycle room the bike has been moved again and I know it's to allow incoming patrons to pass. The door is open. Cool night air drifts in from across the damp lawns. I see moths clinging to the screen like errant scraps of wan cotton. The grounds are moonlit from a high moon and the trees cast Rorschach shadows. There is no one out there. My bike has now been placed under a huge electrical box beside a rusted, chained-up lawn mower without a push handle and the seat of the bike and one handlebar are touching the bottom of the metal case so I have to move it again, jockeying it forth and back until it's right but the side stand isn't correctly extending so I have to keep trying to see if the heavy bike would fall over and I can't let go of it. Then when I go back through the nightclub there are now a few live people there, sprinkled among the manikins. Including my friend Tom who died a few years ago. He is being a waiter and comes toward me with a silver tray and a white towel draped over his arm. He is wearing one of those short black waiter's jackets and kind of long short pants and his legs look thin but healthy, more like a young boy's legs. The short pants are beige and they are the only coloured thing in my dream. I bump right into him with my chin, hitting his nose. He drops the tray and walks away, up an aisle between tables, balefully rolling his eyes because I was so stupid to have walked right into him with my chin. Everyone is watching the stage. Anticipating. Waiting for something to begin. Yet it seems it won't until I leave. Tom turns and moves away. He is holding his fingers over his nose and then starts letting his jacket slide up and down over his shoulders as if he can't decide whether to take it off or keep it on. His wife is there and just laughs. But there is no sound to her chuckle. And it is as if she knows something I don't. I'm rubbing my chin. The lower right side is throbbing. Right on the bone. There are a few other real people present but I don't know who they are. A flicker of silhouette is moving furtively through the chiaroscuro at the back of the room. A door opens somewhere. And I think something is about to start. I wake ... The air is cold and moist and no one is there. I am lying on the cover and I have to tug it hard to get a piece of it over me. I ... I can't go back to sleep now, because my mind is flashing with staccato images fitting themselves together like jiggling dominoes printed with scenes from ten different movies ... or ten different lives. I can't go back to sleep now ... and my chin is throbbing with pain. I can't go back to sleep now ... I don't dare. I am afraid of the act that may be on stage.
© RC Westerholm |
| As writers become more numerous, it is natural for readers to become more indolent .... Oliver Goldsmith |
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Limerick
A meticulous girl from Vancouver was cleaning her room with a Hoover, she vacuumed her cunny which wasn't too funny 'cause it took 12 men to remove her.
© Bob Westerholm
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If you're inspired a little - here's
further exploration for your creative writing interests . . .
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writing contests - http://www.freelancewriting.com/writing-contests.php also check your local library's literature department for postings of current writing contests. screenwriting - http://www.geocities.com/cdeemer/Screen.htm Zoetrope is Francis Ford Cupola's annual contest. the playwriting seminars - http://www.vcu.edu/arts/playwriting/seminar.html much information on screen or stage writing in easy to take format. screenwriting software - http://www.screenplay.com/ Movie Magic screenwriting software is second to none for support, and acknowledged as THE best. poetry - http://www.uwo.ca/english/canadianpoetry/abtcpjr.htm Try writing your own poetry, even if you've never done it before. literature - http://www.americanliterature.com/ There are thousands of literary sites on the web to keep the literati happy forever. writers clubs - Vancouver public library has many leads for writers - http://www.vpl.ca/and three women write about - Women Inspiring Women - http://www.taracronica.com
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Local writers' groups are a great place for all creative writers.
You'll get a valuable critique that friends won't give you. Join one! |
| The Magic Bus
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| Terrence climbed onto the bus, hung his umbrella over his arm and
withdrew his wallet. Paid his fare. Ten thousand dollars. The driver
didn't smile, he never did at Terrence, just pressed a big red button
and the windows fogged as they accelerated away. Terrence glanced over
the singular passengers who looked expectantly at him. Hopeful faces.
He chose an empty seat beside a rugged looking Army man with a scar
across his lip and thick dark hair, wearing a khaki shirt and trousers. Terrence looked around, opted to move near the little blond woman.
As he sat beside her he realized she was only a young girl. Soft,
supple looking. She could have been sixteen, had fine yellowy hair and
a light fragrance like wild rose. Terrence then sat beside a
swarthy man with thick ruddy features and disheveled hair, who had on
a striped tweed suit and reeked of garlic. The Italian offered,
"We two would work on this, ah, music of life. Musica vita. We write a
notturno, si? The world NEEDS nocturnes now. Chopin had but
nineteen. Do you know the result of this, uh, collaborazione?
World fame. Symphonies performing YOUR music. The Aristocracy of
Consonance bending to welcome you." Terrence went and sat hesitantly beside a large muscular black man.
The Italian interjected, "So what is creative in this?" Terrence moved to yet another seat. A
bulky man slumped against the wall of the bus, a black leather patch
over one eye, dressed oddly in a coarse, loose-fitting tunic. Scarred
hairy arms, one of which draped along the back of the seat, making
Terrence nervous of his intent. A crude gold amulet hung from a thong
around his neck.
"Thumbs up to Terrence! Son of Hasdrubal. The conquering, newly
proclaimed, Emperor of Rome!" They dreamt together a moment, allowing
the wondrous ideas to saturate. In confusion Terrence changed seats again. Found himself near a
tall man dressed in black with chased platinum hair. His face very
white, had the look of a cadaver. A large hawk nose. Piercing steel
gray eyes. The angel with the long head smiled, raised his pewter eyebrows at
Terrence. "Yes, bloodshed. That surprises you?" Hannibal turned and glared at the angel. "Friend? I have my own
gods, none of them yours." He spat defiantly. The angel
was getting exasperated. "Did I interrupt you people?" Terrence was shaking with indecision. He arose, moved forward in
the rumbling swaying flying bus, clutching at the chrome grab handles. The Italian composer's thick breath wafted forward, "A complete
symphony, Bellissimo! Terrence said weakly, "I need to think." Only the clarity of the angel's voice seemed to emerge above the
clatter, "POWER, is everything." Terrence walked right into Fred
Carter, his next door neighbour, who always seemed to ask a million
questions. Terrence walked home, now with a confident stride, entered his
front door and announced boldly, "Mother, I'm home and I'm going away
to Italy to create music." |
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f i n i t o |
| performed on stage by the Spin Cycle Players . Vancouver BC |
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© RC Westerholm |
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from ACT III - Empty Nest
HE:
Men are more inventive.
information
for dramaturges here
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© RC Westerholm
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from my novel Tango Murderoso - chapter 50 Tango Murderoso
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James McGrath materialized in a black tuxedo with satiny lapels, his hair slick and combed straight back, his features sharp and clear, eyes bright and bold. Cassandra's already lavish dress became a glimmering red satin with a plunging neckline promising warm oblivion. Her hair swept off her face and piled in tousled curls atop her head like a billowing thunder cloud. They stood in the middle of the dance-floor. Her red lips closed but stretched in the makings of a smile. Her black eyes already dancing with excitement, like looking into a galaxy of sparks and shooting stars. The band was even transformed and now looked to be all thin Argentines with pencil-line mustaches and greased hair and black bow ties over starched ruffled shirts. The rhythm grew louder, blurred hands pounded out an exotic lush beat full of bongos and congas and ratchety scratches and rhythmic grunts. Cowbells and ebony-wood boxes clanking and clicking. It was the deep living jungle in the heat of the tropics. Cassandra drew McGrath into her arms and they began the dance. Formally at first, the steps from the books, from the classes. They moved with sweeping low strides and head jerking reverses dipping and swirling like a mountain stream until they flowed into a warm, erotic liquid-honey movement of animal lust and straining desire. The moment stopped and time waited while they swept first this way, moved swiftly across the floor ending in a spin, then that way, using every inch of the inlaid wood, floating like smoke on a carefree breeze. The music swelled until it was the motivating force of their heartbeats, the rhythm of their lungs and legs, the flow of their blood. They drank the nectar of each other until they were intoxicated with elation, tongue-tied drunk with hedonistic love. They became one gliding, fluttering red and black bird deep in a lush green forest. Time waited. And waited. It was a hypnotic dance, the Patrons sat and stared, mesmerized, and although the band moved while playing, it was as if a moment in the history of the world was being witnessed by a privileged few. The White Rose was stunned. Time waited. The music began to fade. Slowly. Imperceptibly at first, then thinned and finally disappeared yet Cassandra and McGrath's movements only gradually slowed, languidly as though they could still hear the strains reverberating into the luxuriant green hills or out into the empty universe. The only sound became their foot sweeps. Then they were standing alone, Cassandra in an almost supine position beneath him, held by his strong arms, he above like a conquering lion. McGrath gazed down at her. A line of water moved down his forehead, crawled along his eyebrow, dripped off and landed on her cheek. Resuming its hesitant journey, it ran into the corner of her mouth. She touched it with her tongue. They were both breathing hard, her creamy breasts swelling the red satin, one arm clinging to his neck to keep her balance. They held their position. Cassandra's face was moist, her eyelids half closed, she had had the ultimate orgasm, in her mind as well as her body. They stared into each other's eyes until the music faded from their minds. Then they were alone, the last two in the universe. McGrath had never felt like this in his life. Was this love? Through smoke behind them, around them, the real White Rose returned like a tattered phantom through fog. And in McGrath's mind, the struggle that had gone on in there ended savagely, decisively, the victor emerged from the ashes and arrogantly claimed the spoils. That triumphant entity considered it essential that Cassandra acquiesce to her fate and accept that it was held in the hands of James McGrath. Still holding Cassandra tightly,
he spoke, a crisp, clear voice, "I arrest you for the murder of Condy Carlyle.
You have the right to remain silent. You They slowly straightened. There was a pounding silence in the room, the Patrons were gazing at them, puzzled, but not saying anything, still bewitched by the display of primal needs of the dance. Unwilling or unable to transport themselves back into the present. The heat and odour of dry wood and wallpaper seemed oppressive. "Do you understand me?" McGrath said again. There was a moment's hesitation as though deep within Cassandra's psyche a decision was also being made, as to who among her personalities could best meet this new and most dangerous challenge. "I have the full proof of the murder now. Conclusive evidence that you killed him, for the money." "Do you?" Cassandra stepped away from him. "Yes." © RC Westerholm
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Read the entire prologue chapter of Tango Murderoso here
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| The only abnormality is the incapacity to love - Anais Nin |
| from my novel Acts of Empathy |
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excerpt from Chapter 8 - Mare Ligure
"No way, you son of a bitch!" Shawna leaped forward and slugged him in the back of the neck. "Get off her!" Roberto swung his arm around and caught Shawna with a vicious blow on the side of her head, sending her sprawling out the door. "You are going to fuck or swim, you bitches!" The boat was rocking heavily. Roberto tried to grab me but I eluded and slipped into the passageway. Shawna was getting up holding her head and we backed up the stairs into the main cabin. I still didn't believe what was happening. "We didn't come here for this, Roberto." Roberto Rico followed, grinning and holding his limp penis in his hand. "We are going to fuck. Is what you want." "No we're not, you bastard." Fire was venting from Shawna, I swear I saw it. I was wooden-legged with terror. He pounced at her, hairy arms extended, his face distorted. "Don' call me bastard." She sidestepped and tried to kick out but he caught her again with a closed fist that glanced off her shoulder, then he had her arm, trying to grab her breast with his other hand. He was grinning. They crashed against the wall. She brought her knee up into his groin and he buckled and cried out, bent over in pain. "Therése, help me!" Her cry brought me out of my panic stricken freeze. Suddenly this was life or death. I tried to hit him from behind but he twisted around and shoved me hard. I fell back and wedged between the sofa and a table attached to the floor. The surging of the boat kept me off balance. Rico faced Shawna, sweat ran down his forehead. No gentleness in those black eyes now, only menace. He touched his testicles, grimacing in pain. "Tonight, you are fucking me. You understand American bitch? All Americans fuck. I sell them drugs in return for fucking." Shawna was like a feral cat, eyeing him. A readiness in her crouch. I saw desperation and determination in her eyes at the same time. Yet no fear, only a thirteen-year-old girl-child who was never going to be raped again. She declared, "I'm never going to fuck you, you asshole." He retorted, spitting venomously, "You are going to fuck me, then I throw you overboard American bitch." He leapt forward. She met his onslaught with a straight hand to his face, trying for his eyes. He cried out in pain yet still swept her aside with his powerful arm. Shawna landed on the sofa but bounced up. I extricated myself only to have him hit me again on the shoulder, sending me flying across the cabin and onto the floor again. Even though my head was spinning the thought was surfacing that I was going to die tonight. I struggled to my knees, the boat rolled and pitched and I slid under the table. He whacked Shawna, sprawling her over a chart table, was quickly atop her, grabbing her neck and squeezing hard. "I kill you and fuck her!" She cupped her hands and slapped hard at his ears, got a knee up against his chest and pushed him off, aided by the rocking motion of the yacht. Shawna coughed. He reeled, shook his head but charged immediately back at her before she could regain her balance. I was up and trying to hit him from behind. He twisted and slammed me, then lunged for Shawna with me falling against his back. Again she sidestepped, this time grabbing his hair and pulling him forward using his own momentum and my push. He plunged head first into the stairwell leading down to the master stateroom. Disappeared with a clunk. It was suddenly quiet. Only the undulating hum of the engines and the sound of lapping waves and Shawna and me gasping for breath. She rubbed her throat. The side of my head seared with pain. We held on against the tossing motion of the boat, stared at each other with wide wild eyes, waiting for Roberto to reappear, trying to calm our breathing, preparing for the worst. The churning engine wavered as the boat rocked over the water with no one steering. I could smell diesel fuel. Shawna inched forward, peered into the dark stairwell. I looked down. Saw Roberto's bare feet, then his hairy legs and thick round buttocks. He did not move. © Dahlia
reg. Writers Guild Canada # S04-8228 |
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| The Trial of Dancy Whitecotton a stage play about the invincibility of the human spirit |
| ACT I - SCENE 1 A summer evening. A street outside a small corner grocery store in a slummy, poor neighbourhood. A ROBBER wearing a pantyhose stocking mask with one leg hanging down is just backing out of the store. He has a paper bag full of money and points a large black gun into the entrance. ROBBER Friggin' yahoo! He shoots upwards into the doorway. A very loud report from the gun. - Three strange figures appear nearby,(the ALIENS; Grass, Pot and Maryjane) dressed like humans but there seems to be something odd about each of them. They observe the scene with detached interest. As the Robber starts away he almost runs into them. Startled, he aims the gun threateningly but they do not react, just stare at him with curiosity. ROBBER Outa th’ way freakos! One of the aliens (POT) waves his Right hand in the air. The Robber reacts in panic and fear at what he believes is a threatening action and reflexively pulls the trigger and shoots all three. He is shocked and scared by his own action and his eyes widen as he realizes the bullets have had no effect. The aliens simply observe him. POT This one displays Anger, I believe. You think, Mister Grass? GRASS nods. GRASS Yes Mister Pot, rage may be this emotion. Look at those eyes. MARYJANE (leans close to Robber) I sense Fear as well, below this hostility. POT (as if he knows something the others don't) Mister Maryjane, you are correct, these must be wonderful emotions. Just what we need. You understand this human, Mister Grass? He entered the store wanting money, and now he has obtained it. A fine example to collect. GRASS Precisely, Mister Pot. Shall we take him? The Robber shoots again. Still no effect. Looks into the barrel of the weapon. Pot moves his LEFT hand in the air, points his MIDDLE finger toward Robber and instantly freezes him in place, as if he is stuck to the pavement with crazy glue. Robber struggles, wide eyed with disbelief at what is happening. He cannot move his feet or speak. He is shouting but we hear nothing. POT Rage. GRASS (crosses arms studiously) Yes, rage. MARYJANE (nods agreement) Rage it is. End of Scene 1 ACT I - SCENE 2 DANCY WHITECOTTON exits her workplace, just up the block from the grocery store, a sign over the door says; SWEATSHOP SPORTSWEAR, INC. Workout Wear. She is crestfallen as she leaves, digging through her purse for her apartment key while softly crying. DANCY (plaintively to herself) It's not fair. I deserve a raise. Darn you Mr. Goldfogel. The aliens are near but she doesn't see them or Robber yet. They observe her tears. Pot peers over her shoulder into her purse. POT I see her name, Dancy, Whitecotton. GRASS Hmmm. Anguish, Mr. Pot? POT I think, yes. That is Anguish. MARYJANE Anguish it is. POT (waving hand in air absently) Anguish is on our list. Let's take the Dancy Whitecotton human too. As Dancy moves toward the corner grocery store, she gasps and retreats at the sight of Robber standing there struggling but stuck fast to the pavement. The aliens move closer. End of Scene 2 ACT I SCENE 3 All three are looking curiously at Dancy, who now sees them and steps back, fearful they are muggers, yet they ignore her offers of her purse. DANCY You, don't want my purse? My money? You're not with him? POT Au contraire. It is YOU we are taking. Dancy backs off another step. Glances at the robber. DANCY (puzzled and afraid) Taking? To ...? POT Our planet. Many millennia from here. Pot waves a HAND indicating way off somewhere and the Robber suddenly has one leg free and tries to take a step until Pot points a finger at him and he is glued again. Dancy is perplexed. DANCY Your PLANET? Oh no. Who are you, aliens or something? POT Your term. Correct though. And you are Dancy Whitecotton.GRASS (hurriedly explaining) But we're not aliens at HOME. On OUR planet. MARYJANE Oh no. Not at home. DANCY (rolls her eyes) Just what I needed. You look human though. GRASS Yes Mister Dancy? That pleases us. DANCY MISS Dancy would be correct. (then indicating the robber) Who is this guy and why can't he move? POT
His name is Robber. I
have heard the one inside the store say MARYJANE We are taking him with us too. DANCY Why is that? POT He has exhibited the emotion called Rage. ALIENS (in unison) (Nod heads with a naive understanding) It must be good. DANCY (incredulously) Oh my gawd. Rage. You all think rage is good? GRASS He has Rage - He wanted money when he went into the store - DANCY That is NOT Earth logic. You haven't said WHY you want to
POT Oh. Our race is dying. A genetic malfunction. We believe
you GRASS We need to study your character evolvement. DANCY So, you're, just taking me as a SAMPLE? POT (raises a finger to point at her) Correct. Ready? DANCY Oh my gawd.
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excerpt from The Trial of Dancy Whitecotton
© RC Westerholm
Synopsis - Just because aliens can get here to take samples of humans to their planet doesn't mean they are all that smart. |
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from my screenplay - Nashville Dreams |
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They pass a police car at the side of the road with two deputies. ROSCOE and OTIS notice the yellow pickup and FDR driving. ROSCOE There he is Otis, Franklin in his Papa's truck.
OTIS Ol' Ornery Tom's gonna kill that boy, Roscoe.
ROSCOE I never thought he'd have the gumption to steal it. If that's what he did.
They start their car, speed after the truck with their red lights flashing. Our three are still having fun until Jackson turns to look back at the dog and sees the police car. JACKSON Whoa there, what's this?
Elijah turns, stopping his fingering of the banjo.
ELIJAH We ain't speedin'.
FDR W-What?
JACKSON We got a police car catching' up on our rear here, FDR.
FDR Well they d-don't have to b-be ch-chasin' after us.
Jackson and Elijah continue looking out the rear window. FDR tries to adjust the hanging rear view mirror to see but it's too loose. He turns, looks, gulps and loses control of the truck and nearly slides into the ditch beside the road.
FDR Oh n-no.
ELIJAH They IS chasin' us, man.
JACKSON What d'you mean, 'Oh no', FDR? Why'd they be after us?
FDR doesn't answer, keeps on driving. A siren starts.
JACKSON You best pull over boy, there ain't nobody else on this road.
FDR just keeps driving faster, looks worried. He turns off the paved road onto a side lane of gravel, kicking up a spray of small stones over the police car, which drops back a bit. Whistlestop is trying to balance while howling at the siren.
ELIJAH Your Daddy KNOW you took his truck?
Jackson is squirming between them looking incredulously at FDR and the police car, now close to their rear bumper again.
JACKSON This ain't YOUR truck, boy?
ELIJAH We be goin' t' the Iron and Steel Hotel.
FDR suddenly veers off the road onto a dirt path through fields. Dust is everywhere and the police car loses a little ground.
FDR (nervous voice) He d-didn't essactly s-s-say I c-could have it.
JACKSON You STOLE this truck?
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© R.C. Westerholm |
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ELIJAH (singing softly) beneath a railroad trestle Ain't no hurry to get nowhere, roll on, along the road got no worry, already there, roll on along the road. |
written by Elijah, a character in my screenplay,
Nashville Dreams
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written by character Zac in Deadly Nightshade -
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Hero of the Sky
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I am your Hero of the Sky,
the one to teach young hawks to fly I show their wings how to use the wind and guide them safely home again. I am the clouds that shine with light my heart is honest, moral, white I know some things that can't be told when to be meek, when to be bold. I am your Hero of the Sky I'll show you what it is to die to free your heart and soar in bliss liberate your soul with a lover's kiss I use the rain to wash away, the evilness that came today I use the sun to burn the beast that worships to a secret priest. I have the Moon to light your way a silver path, you cannot stray. I own the stars where wisdom lies We'll both be Heroes of the Skies. I am Your Hero of the Sky unfold your wings and learn to fly let go the branch and leave your nest I promise you eternal rest. ----------------------------------
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Were there secrets in this prose? What meaning? It was not Cynthia's handwriting. Perhaps that mysterious dark friend she mentions often. I placed the page back in the drawer. Now the tiny voice within me was warning, 'Be careful Harry, something very strange is going on here.' Atop the desk a phone, a long gray metal box with a Celtic design carved into its lid. Inside a necklace of amber. An antique black handled knife, black blade, very ominous looking. More old books on a shelf didn't seem to be related to school. Cynthia had secrets I needed to know about. The little spice jars drew my attention.
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Merriam-Webster online dictionary - http://www.merriam-webster.com/ Roget's online thesaurus - http://humanities.uchicago.edu/orgs/ARTFL/forms_unrest/ROGET.html Dictionary of British slang - http://www.peevish.co.uk/slang/t.htm Dictionary of American slang - http://www.oup.com/us/collections/slang/?view=usa Bartlett's quotations - http://www.bartleby.com/100/
Although these online references are great, nothing beats having the hard copy at your fingertips .... buy books.
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some projects from which excerpts are taken - Novels - Acts of Empathy, Tango Murderoso, Deadly Nightshade, A Place in the Sky, Riding Pegasus, Pelly and Miramar. Stage Plays - Talk About Love, The Ride, The Magic Bus, The Trial of Dancy Whitecotton, Madame Merelda's. Screen Plays - features - Tango Murderoso, Nashville Dreams, The Ride. short films - The Magic Bus, The Dream. Short
Stories - Vital Mission, The Birth of
Loneliness, The Bertrameister, Roses, The Magic Bus, The Dream, The Lie,
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all writing © RC Westerholm ©
Dahlia
©
Bob Westerholm |
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website design - Masalla Galleries Graphics - Vancouver BC
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