1696 lines
96 KiB
Groff
1696 lines
96 KiB
Groff
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T W I L I G H T Z O N E
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Volume 1 Issue 3
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October 17th 1993
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"Where am I to go now that I've gone too far?"
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This magazine may be archived, reproduced and/or distributed provided that no
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additions or changes are made to it. All stories in this magazine are fiction.
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No actual persons are designated by name or character. Any similarity is
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purely coincidental.
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If you bought this magazine through an expensive PD library, be sure to get
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it cheaper somewhere else next time, as it's FOR FREE and I didn't intend it
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to be for free just so that someone else could make lots of dosh with it!
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Please refer to the end of this text file for information regarding
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submissions, subscriptions, copyright and all that.
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= LIST OF CONTENTS ===========================================================
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EDITORIAL - Richard Karsmakers
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THE PRESIDENT IS MISSING - Richard Karsmakers
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WHAT HAPPENS WHEN A WRITER ISN'T GETTING ANY - Bryan Kennerley
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THE LAST TEMPTATION OF AN ARCADE ADDICT - Richard Karsmakers
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CIRCUS GAMES - Richard Karmakers
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SLY FOR PRESIDENT - Richard Karsmakers
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ECO - Richard Karsmakers
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IGNATIUS' DAY OUT - Stefan Posthuma
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NO SMOKING - Jason Brew
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SHADOW OF THE BEAST - Richard Karsmakers
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BALLISTIX - Richard Karsmakers
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SOON COMING
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SOME REGULAR REMARKS
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= EDITORIAL ==================================================================
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by Richard Karsmakers
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Rainbow's "Catch the Rainbow" gently vibrates the air as I write down these
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words that start off the third issue of "Twilight Zone". So far, new
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subscribers have been coming in every day. I made myself a promise to quit the
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whole thing should it not have met with sufficient reader enthusiasm, and as
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all you people out there have showed plenty of it I have definitely decided to
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continue doing it. The first two issues were a try-out, sortof, and I will
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apply myself more seriously to the matter from now on. Most notably this will
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manifest itself by the release frequency increasing from four to six issues
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per annum (yes, "Twilight Zone" will be bi-monthly as of Volume 2 Issue 1!).
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As nobody reads the editorial, usually, I will let you get down to the actual
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reading now.
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I hope you like what's on offer this time!
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Richard Karsmakers
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(Editor)
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= THE PRESIDENT IS MISSING ===================================================
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by Richard Karsmakers
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Inspired by "Who Framed Roger Rabbit?"
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Klick.
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A resolved look settled on the face of the detective as he inserted the sixth
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bullet in his .45 and shut the register. He looked at the newspaper on his
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desk and the secret document that lay next to it. "Read & Destroy" could be
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read on its cover.
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He blew a large cloud of smoke to the lamp that sat clutched to the desk. The
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rays looked ghostly through the temporary fumes. He held the burning cigarette
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against the document, waited until it caught flame and then dropped it
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casually in the wastepaper basket.
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The flames licked the paper, rapidly reducing it to a smouldering heap of
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ashes.
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The detective looked at a small bottle of ink on the table.
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"ACME Disappearing/reappearing ink" was printed on its label. He took the
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bottle and indifferently put it in a coat pocket.
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Eddie inserted the .45 in its holster and adjusted his tie. He took a bottle
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of cheap whiskey from another pocket, intending to take a swig. Then he
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remembered something that had been contained in the secret document.
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"Do not trust *anyone*," he muttered to himself, "not even your booze
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dealer."
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His new booze dealer was a big man with a large, quadrangular face ornamented
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with long side burns. In Eddie's opinion quite the kind of man that wouldn't
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mind poisoning a poor alcoholic. He tossed the bottle in the aforementioned
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wastepaper basket and left his office.
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He regretted the act as soon as he walked down the stairs. The whiskey might
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have been cheap, but how many times had it not helped him to get over a
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romance that had gone down the drain, or to get over a case that he'd failed
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to solve, or even to temporarily forget about his brother's death?
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Above, some of the liquor oozed through cracks in the dust bin.
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He stood outside and took a deep breath of New York air. He stood firmly,
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legs slightly apart, as if he was prepared to face the worst. His eyes flitted
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right and left, carefully taking in what was happening around him without
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moving his head as much as an inch.
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A police car raced through the streets, its siren making a noise that seemed
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to bounce through the inside of his head like a tennis ball.
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It ached.
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The blue flashlights threw disembodied shadows of a mysterious figure on the
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wall next to him. The mysterious figure seemed to be drawing something from
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his inner pocket; it could be the suction pipe of a vacuum cleaner, but it
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could just as likely be...
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In a flash of instinct and skill, the detective drew his gun, aiming it at
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the supposed shadow. It had gone.
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"Well I'll be..." he cursed, re-inserting the weapon where it belonged,
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"...seeing ghosts next!"
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He stuck up a thumb and the next moment a yellow cab had appeared on the
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street before him, as if it had appeared out of the blue (which it seemingly
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had). A small cab it was, with no roof and a mouth on the hood.
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"Yo! Where 'ya wanna go, Eddie?" the cab inquired.
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"Kennedy Airport, Benny," the detective replied, seeming unabashed by what
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had just now taken place, "and make it fast, will ya?"
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The cab left in a cloud of smoke; the stench of burning rubber penetrated the
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air.
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The wind blew rashly through his hair as the detective held on tight to his
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seat. Surely the cab hadn't had any traffic regulations lessons recently; it
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seemed principally neglecting every one rule ever written down with regard to
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traffic in any place at any time.
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Eddie closed his eyes tightly, knowing that it wouldn't make even the
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slightest difference whether or not he complained.
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After about fifteen death-defying minutes, Benny came to a screeching halt
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outside Kennedy Airport's main entrance.
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"Here we are Eddie!" the cab exclaimed, "That'll be...let's have a
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look...three bottles of ink."
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Eddie fingered the contents of his coat pockets, eventually taking out the
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bottle of ink.
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"This ought to be enough, hoodwinker!" he grumbled as he handed it over to
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the cab.
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"Gee, Eddie, thanks! That's worth at least five regular bottles of..." -
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"Keep the change, and split!" Eddie interrupted, slamming the cab's door.
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Benny seemed a bit hesitant, not quite knowing what to do now someone had
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spoken to him like that. After some seconds of apparent deep thought, it
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disappeared as quickly and mysteriously as it had appeared, leaving only
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behind a subtle waft of burned rubber.
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Eddie walked up to the main entrance. A glimmer at the top of a nearby
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building caught his attention. His instincts took over, making him dash for
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the automatic doors at a far higher than usual speed.
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Cronos Warchild, mercenary and hired gun, cursed in himself, fumbled with his
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side burns and dropped his ultra-precision gun. A commonly used synonym for an
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animal's solid excrements passed his lips. He disappeared inside the high
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building, taking the elevator down.
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"Flight IA 734 for Tel Aviv is now boarding. All passengers please report at
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gate C," the Public Address system at John F. Kenney Airport's main hall
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proclaimed, "Thank you."
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Eddie walked towards the counter to get his ticket. He had to hurry. There
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wasn't much time left to get to gate C. And he didn't want to be late.
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"But I have nothing to declare!"
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The detective looked at where the savage voice repeating these words had came
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from. It came from the ticket counter; there was no queue, only a large dude
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with loadsa muscles, a red piece of cloth wrapped around his head, carrying an
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M 60 machine gun. He was arguing with a blonde piece selling the tickets. He
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had a small pouch hanging around his waist, from which a ticking sound arose.
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Eddie joined the next queue, observing the muscled guy.
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"But, sir," she girl now told that man, still apologizingly but already
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losing her patience, "you cannot take aboard that equipment. I'm sorry. It's
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regulations. No guns, and no bombs either."
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The man only grunted in reply, then started to explain to the girl that, what
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with the likelihood of *two* people carrying a bomb aboard any given flight
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being infinitely tiny, he had brought one just to be certain that...
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"I'm awfully sorry, sir," the girl repeated, slightly raising her voice now,
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"but I have to ask you to be so kind as to..."
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A large, broad man with a rather ectangular face and long side burns had
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appeared behind the ticket counter girl, looking menacingly. He was wearing a
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Pan Am shirt that was obviously in need of replacement by one of a larger
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size.
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"Take a hike, dude!" the man's voice sounded, threateningly. His eyes gave
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the muscled guy with the red piece of cloth tied around his head a killer
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look.
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It was clear that this supposed Pan Am employee had no intention of ever
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repeating this hint without some additional physical interaction.
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The muscled guy took a piece of cardboard from a satchel on which
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"Afghanistan" was written in a most terribly fashioned handwriting. Muttering
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angrily, he turned around and walked outside. There, he extended the cardboard
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sign and stuck up his thumb. A small yellow cab with no roof appeared,
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seemingly from out of nowhere; the man entered it, after which it left in a
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cloud of smoke.
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Eddie saw that the girl was pretty much aghast at the rather squarely built
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man's performance. He found the man now looking at him, fixing him with an
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obsessed stare.
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Er...didn't that face look somewhat familiar?
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Eddie got a sudden craving for cheap whisky.
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"Tel Aviv...er....First Class," the detective replied when it was his turn at
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the other queue and the girl at that ticket counter had asked him what might
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be his destination. She typed something on a terminal, after which a printer
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made some noise and ejected a ticket which she handed to him.
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"Gate C, sir. Have a bon voyage," she said sheerily.
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Eddie kept his hand extended for another while, pulling it back when he
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concluded from her raised eyebrows she wasn't going to have him have anything
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after all.
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Airline Company personnel just wasn't the way it used to be in the good old
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days.
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He headed for gate C.
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"On your way to the plane, you will be contacted by our agent in Kennedy
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Airport," the secret document had read, "and the fact that he might to you
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seem a bit odd will be his password."
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Near the gate, Eddie once more noticed a flickering of something metal - this
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time in the shade of a large plant. He pulled out his .45 and leapt at whoever
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was in hiding there. This time he would have him!
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He ended up holding a rabbit at both ears.
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"Pflulululeeeaaase!" the rabbit complained, "don't you start yankin' my ears!
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I hate it when people yank my ears!"
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Eddie released the rabbit from his grip, mumbling somewhat of an excuse. The
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animal, which looked decidedly odd, dropped to the ground. It looked like a
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rabbit yet it didn't either.
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"Would you mind putting away that thing, too?" the Rabbit asked while
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pointing at Eddie's gun. Eddie nodded and put it safely away. He glanced
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around skittishly.
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"I'm Roger," the rabbit said, "Aren't you Eddie Valiant, the famous
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detective?"
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"Yeah," Eddie replied. The rabbit was about to say something again when Eddie
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signalled him to be silent. He sharpened his ears as he heard his flight being
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accounced again.
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"Last message to all passengers for flight IA 734," a voice droned, "This
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flight now finishes boarding at gate C. The flight will depart shortly."
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"Sorry, pal", Eddie said to Roger, "but I've gotta go. I've got a plane to
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catch, and it seems I have to hurry. If you don't mind, I'd..."
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"I am the secret agent you are to meet," the rabbit interrupted urgently, "I
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was told to warn you that there's a contract out on you. An incredibly
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effective international hired gun is on to you. You'd better watch your
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steps."
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Eddie didn't have any time to reply or say anything at all. The rabbit, which
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had a distinctly odd sense of drama, vanished in a puff of smoke (yeah, toons
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can do that). The detective stood glued to the ground for the better part of a
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minute, scanning the large plant for possible further flickerings in its
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shade.
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"Flight IA 734 now departing," a voice droned, shaking Eddie from his
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puzzlement. Through the windows he saw his flight taxiing towards its
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designated take-off runway.
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Without him on it.
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What would his superiors say if he didn't turn up at Tel Aviv next day?
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Once on the proper runway he saw the plane increasing speed, slowly but
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surely. A couple of moments later, it took off. It went into the sky like a
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smooth bolt of erupting fire and melting metal.
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A smooth bolt of erupting fire and melting metal?
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A rolling, thundering sound caught up with the people in the hall of Kennedy
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Airport. Women yelled frantically, children cried; men ran to and fro carrying
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boxes full of Kleenex tissues. The plane had exploded in mid-air and had
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crashed on a well known street in New York, killing thousands of business men
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and leading to the utter collapse of the dollar index.
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No doubt. A bomb had exploded aboard the craft. Someone did not want Eddie
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Valiant to arrive at Tel Aviv. And whoever didn't want that, didn't want it
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pretty badly.
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A couple of minutes after the plane had exploded and crashed, a telegram
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arrived at the desk of the ticket counter girl who had barely recovered from
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her supposed colleague's rather harsh treatment of that muscled dude, let
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alone the crash of the plane that they guy had originally wanted to be on. She
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accepted it with trembling hands, then passed it on to a couple of Airport
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security men after having read it.
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"Didn't I tell you? - STOP - You should have let me aboard - STOP - Signed:
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John R.," it read.
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Eddie strode to the main exit, carefully looking all around him for the
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possibility of assassins. Obviously, this international hired gun that Roger
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had been talking about was pretty seriously devoted to killing him. It seemed
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better to keep a low profile for a while. The president would probably remain
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missing for another couple of days and then there was always time to...
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At that instant, a flicker caught the corner of his eye again. Right behind
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him. Heavy steps followed his.
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"Third time lucky, eh?" Eddie muttered scornfully, starting a trot. Heavy
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steps still followed him, also quickening pace.
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BANG!
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A high whizzing sound of sorts passing his ear told him that whoever was
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picking him for a target knew halfway how to do it. He scrambled outside and
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stuck up his thumb. The next moment a yellow cab had appeared on the street
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before him - as if it had appeared out of the blue (which it seemingly had). A
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small cab it was, with no roof and a mouth on the hood.
|
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"Hiya! Where 'ya wanna go, Eddie?" the cab asked.
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"Never thought I'd be happy to see you, Benny," Eddie gasped, "back to my
|
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place. On the double!"
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The cab left in a cloud of smoke; the stench of burning rubber penetrated the
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air. Eddie looked behind him and saw a huge man stampeding with rage, waving
|
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something that resembled a post-space-age piece of weaponry.
|
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There was a piece of ragged, gel-stained red cloth lying on the cab's floor.
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After fifteen death-defying minutes, the cab came to a screeching halt right
|
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in front of Eddie's office.
|
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"Here we are, Eddie," Benny said, "that'll be...uh....lemmesee...six bottles
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of ink!"
|
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Many people wonder about the sometimes devastating rate of inflation
|
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nowadays, and so did Eddie now.
|
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"But on the way to Kennedy Airport, half an hour ago, I paid only three
|
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bottles! What..."
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"It's added danger money," the cab interrupted, "the dude who hired me about
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ten minutes ago first refused to pay and when I started complaining he shoved
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an M 60 under my hood! Then he even wanted me to pay for a telegram or
|
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something he wanted sent to the airport!"
|
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"All right, all right," Eddie, to whom all of this made little sense,
|
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retorted, "Hang on for a moment, will ya? I'll just get some ink upstairs."
|
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He got out of the cab, fingering his pockets for the keys. Darn! Where had he
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put those blasted keys?! Or had he perhaps lost them somewhere?
|
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Once upstairs, in front of his office door, he fooled around with his credit
|
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card. He barely had to insert it for the door to open. It was never *that*
|
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easy, unless the door had already been open. Had he not locked it when he
|
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left?
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So pondering, he entered.
|
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As he searched his drawer he suddenly heard a click. He turned around and
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found himself looking straight into an impressive-looking barrel of what
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seemed to him like a post-space-age piece of weaponry. It seemed lethal enough
|
|||
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for him to make only slow and deliberate moves.
|
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Cronos Warchild, mercenary and hired gun, placed a ghetto blaster on Eddie's
|
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desk and pressed "Play".
|
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The fanfare part of Strauss' "Also sprach Zarathustra" sounded through
|
|||
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Eddie's dusty office. It reminded him of some exceedingly dull but no doubt
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|||
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endlessly cult and deeply literary SF movie he had seen once.
|
|||
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"Say goodbye, sucker," Warchild said, his voice sounding just as lethal as
|
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his ultra-precise gun that was now aimed at a spot precisely between Eddie's
|
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eyes.
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"Goodbye," said Eddie while putting a finger in the gun's barrel as Warchild
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pulled the trigger.
|
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BANG!
|
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A commonly used synonym for an animal's solid excrements passed someone's
|
|||
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lips.
|
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|
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|
Original version written late 1988. Rehashed September 1993.
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|
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|
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= WHAT HAPPENS WHEN A WRITER ISN'T GETTING ANY ===============================
|
|||
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by Bryan Kennerley
|
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|
|
|||
|
|
|||
|
A very good evening to one and all. I would like to take this opportunity, if
|
|||
|
I may, to relate to you the unfortunate result of, as we in this green and
|
|||
|
sceptred isle of ours like to say, "not getting any." I am openly admitting
|
|||
|
here to being a sufferer of this cruel condition so that other fellow
|
|||
|
sufferers can know that they are not alone, except, of course, in the biblical
|
|||
|
sense of the word.
|
|||
|
I am a budding writer, although due to this terrible affliction I have of
|
|||
|
late spent more time budding than actually writing. I have attempted, from
|
|||
|
time to time, to put fingers to keyboard in moments of literary compulsion,
|
|||
|
but have always been thwarted by my own bodily urges. But let me give you an
|
|||
|
example so that you can get an idea of how this form of "writer's block" (nay
|
|||
|
"writer's bollock") exhibits itself for all to see - I wrote this piece
|
|||
|
earlier today filled with good intentions, yet, as you will see, my hands were
|
|||
|
being led not by my conscious mind but, unbeknownst to me until I read it
|
|||
|
back, by another mind at the completely opposite end of the spinal column. I
|
|||
|
have capitalised the sections of particular distraction for illustrative
|
|||
|
purposes.
|
|||
|
|
|||
|
As Andrea stared solemnly into the fire she recalled the ferocity of the
|
|||
|
blizzard that she had endured on their way to this place, a lonely log cabin
|
|||
|
high in the hills. The car had died a couple of miles down the road, forcing
|
|||
|
her to brave the remaining distance on foot. She had barely been able to keep
|
|||
|
going against the merciless force of the soul-chilling gale pushing her back
|
|||
|
towards icy oblivion and when her goal came into view she had never been more
|
|||
|
glad to see a WOODEN ERECTION in her life.
|
|||
|
A drift of whiteness growing up the door combined with her lifeless fingers
|
|||
|
had toughened the fight to GAIN ENTRANCE but her resolve had GROWN also and
|
|||
|
she let out a DEEP SIGH as she felt the ENTRANCE YIELD TO HER IRON GRIP.
|
|||
|
RELIEF SWEEPING THROUGH HER BODY, she clambered through the OPEN ORIFICE into
|
|||
|
the WARMTH THAT AWAITED HER. Slowly her frozen form began to thaw out and she
|
|||
|
lit the log fire that had lain unburning since the summer. Sitting in front of
|
|||
|
the dancing flames she had removed her winter coat and flicked her hair back
|
|||
|
from her face, revelling in the WAVE OF HEAT SWEEPING OVER HER, STARTING WITH
|
|||
|
AN ECSTATIC TINGLING IN HER TOES AND GROWING UP THROUGH HER ENTIRE BODY
|
|||
|
REMOVING ANY LAST RESISTANCE SHE HAD AGAINST THE FIRE'S PROBING FINGERTIPS.
|
|||
|
SLOWLY SHE DISROBED ALLOWING THE BLAZE TO SPREAD ALL AROUND HER WRITHING FORM,
|
|||
|
SAVOURING EVERY TOUCH, EVERY SENSATION IMPARTED TO HER BY THIS RED HOT LOVER.
|
|||
|
|
|||
|
You see? It start off very innocently with just one sexual reference in the
|
|||
|
first paragraph, but by the end of the second all hope of a literary marvel
|
|||
|
are shattered by my thwarted libido crowbarring its way into my higher brain
|
|||
|
functions.
|
|||
|
Don't think that I haven't tried to find a way around, desperate times call
|
|||
|
for desparate and disparate measures. You might think that by choosing a scene
|
|||
|
and cast not possessing a single sexual characteristic between them would
|
|||
|
reduce the prospects of lustful intrusions to negligable proportions. Nay! For
|
|||
|
demonstration purposes, let us take three entirely innocent objects in an
|
|||
|
entirely innocent setting. Let me see......a library, a book, a pair of
|
|||
|
spectacles and a small pebble named Sam:
|
|||
|
|
|||
|
The library was quiet this time of the morning, the reference section
|
|||
|
entirely devoid of life, the borrowing area hardly bustled, what life there
|
|||
|
was was soon to end if the coughing emanating from that quarter was any
|
|||
|
indication. A single shaft of sunlight escaped the captivity of the rolling
|
|||
|
autumn cumuli that drifted slowly overhead, spotlighting a single barren table
|
|||
|
and in particular the one book resting open upon it.
|
|||
|
The illiterate beam cast its single, brilliant eye over the sole picture
|
|||
|
contained on the open pages of the encyclopaedia, an annotated diagramatic of
|
|||
|
the workings of an internal combustion engine. Absorbed in what it saw, the
|
|||
|
studious ray failed to notice the pair of spectacles folded upon the adjacent
|
|||
|
page while the scholar vanquished an unrequested call of nature. And, it's
|
|||
|
interest in the book magnified manyfold, the light became heat and the heat
|
|||
|
claimed the book as its own. Its grip was a powerful one and its craving for
|
|||
|
knowledge grew, grew beyond the bounds of this one volume of encyclopaedic
|
|||
|
instruction and it grasped out at the boundless collection of words within its
|
|||
|
reach.
|
|||
|
It was not long before the library was consumed. Its occupants were evacuated
|
|||
|
but two people were unaccounted for, one disciple of knowledge who had
|
|||
|
succumbed to a call of nature and one Miss Forbes, librarian's assistant who
|
|||
|
had done the calling. They were found in each others arms and other, more
|
|||
|
moist parts of the human anatomy, in the gentleman's toilets by a fireman who
|
|||
|
removed the door with his fearsome chopper, which he wielded in double-handed
|
|||
|
fashion. Both parties were unharmed by both the fire and the fireman's
|
|||
|
magnificent weapon and how they all larfed about it afterwards.
|
|||
|
|
|||
|
OK, so it wasn't quite so bad as I expected, ignoring the "shaft" in the
|
|||
|
first paragraph as artistic license, it was going pretty well until the tying
|
|||
|
up of loose ends, which, in itself is an expression of not undisguised
|
|||
|
depravity, fun though it may be. The truth is that I bit my fingers several
|
|||
|
times before finally letting my feelings burst forth in an explosion not
|
|||
|
dissimilar in scale to when a certain Charles Chaplin stepped on the
|
|||
|
proverbial hosepipe and then lifted his foot. "But what about the small pebble
|
|||
|
named Sam?" I hear you cry! Well, some of you may well have guessed by now
|
|||
|
that I only threw that one in to make it hard. How about something more
|
|||
|
moody, perhaps set in times gone by when storytellers were worshipped as much
|
|||
|
as TV sets and, yes, even more than "The Les Dennis Laughter Show"?
|
|||
|
|
|||
|
"Come children, and sit with me by the fire", beckoned the old man sitting
|
|||
|
beside the sole source of light in the dark Winter evening. This man was known
|
|||
|
throughout the land as a master of experience, for he had travelled through
|
|||
|
all the lands of the known world and, some said in hushed tones, many more.
|
|||
|
His presence always drew attention, his name awe, his weathered face
|
|||
|
incredulity. In town after town he had become known for relating the many
|
|||
|
things he had seen to the young folk who rushed out to greet him when word of
|
|||
|
his arrival struck. There was not a man nor child in the land who had not
|
|||
|
heard of this man. So they ran away.
|
|||
|
|
|||
|
No, better end that one before it gets out of hand, as God reputedly said to
|
|||
|
himself as Adam first saw Eve. One obvious option open to me, or to anyone
|
|||
|
else unfortunate enough to find themselves in this situation, is to surrender.
|
|||
|
Surrender to the primal screaming that is oozing into my cerebrum like a
|
|||
|
reasonably viscous fluid, give up the fight and join the ranks of the other
|
|||
|
side. But such is the power of the calling that I fear that if I were to
|
|||
|
submit to Its demands than I would become Its slave for all eternity, and all
|
|||
|
my utterances would become perverse and my every sentence would bear the
|
|||
|
insignia of the double entendre. If I did surrender my soul to its will and
|
|||
|
fall into the ranks of the obsessives then I am afeared as to what might be
|
|||
|
created on this screen, yet if I denied It then would It ever go away? Should
|
|||
|
I open a direct channel from this nether world into this one and accept
|
|||
|
whatever profligate child results from such a joining?
|
|||
|
No, as long as I have control over my actions then I will fight! Until such a
|
|||
|
time as this demon spirit is exorcised by a being of such angelic virtue, or
|
|||
|
not as the case may be, then I shall not succumb, though I may from time to
|
|||
|
time pass the utterance "ooer missus" at the passage of words such as
|
|||
|
"succumb" as a vent to the dammed, nay, damned reservoir of coital passion.
|
|||
|
For like Dr David Banner, a raging monster dwells within me and I am forced to
|
|||
|
wander, never knowing when He might emerge again doing irreparable harm to my
|
|||
|
apparel of the moment. And, though it may take numerous rewrites and endless
|
|||
|
hours of editing, I will continue to spew forth material which is truly
|
|||
|
deserving of the adjectival prenomer "literary". And I shall not be beaten,
|
|||
|
except in a playful and sensual manner!
|
|||
|
So I end this text on a message of hope for fellow and fellowess sufferers
|
|||
|
out yonder, fear ye not, thy time will come, as shall ye!
|
|||
|
|
|||
|
Original written somewhere in 1992.
|
|||
|
|
|||
|
|
|||
|
= THE LAST TEMPTATION OF AN ARCADE ADDICT ====================================
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
|
|||
|
I wake up with an enormous headache. It seems as if a mercenary annex hired
|
|||
|
gun is trying out his latest killer gadgets on the inside of my poor skull.
|
|||
|
With every heartbeat, a throb slithers through my head's veins, creating a
|
|||
|
feeling as if the very thing is about to burst into pieces.
|
|||
|
I open my eyes. At first, I only see some vague colours, predominated by
|
|||
|
miscellaneous shapes that move in specific patterns across my retina. As the
|
|||
|
colours sharpen, these images disappear as though melting in the sun.
|
|||
|
Ah...the sun! Can't someone turn the bloody thing off? Or at least close the
|
|||
|
blinders? Even more violently throbbing sensations are finding their way
|
|||
|
through my skull's nerves.
|
|||
|
Pain! Pain! Can't someone extend a helping hand to this poor and suffering
|
|||
|
soul?
|
|||
|
I use all power that is left in my aching body to press a button on the wall,
|
|||
|
labelled "Nurse (female)". I can barely avoid accidentally pressing the button
|
|||
|
next to it, labelled "Nurse (male)".
|
|||
|
|
|||
|
SEX
|
|||
|
|
|||
|
After a short while, the room is entered by a gorgeous brunette - the likes
|
|||
|
of which would turn any healthy male's heart into a smouldering heap of cells,
|
|||
|
slowly devouring the rest of the body into utter foolishness and folly. She
|
|||
|
wears white nurse's clothes: A mini-skirt and a blouse that should actually
|
|||
|
have had a few more buttons starting at the top. Her long, long, beautiful
|
|||
|
legs are only covered by air molecules that seem to struggle to be able to
|
|||
|
touch her. She blinks her eyes in a fashion that would enrapture the very
|
|||
|
Pyramids of Gizeh, and with a casual move of her right hand puts her hair in a
|
|||
|
way so that it congenially covers one of her shoulders. It glimmers like silk
|
|||
|
in a fresh summer morning's sun, even better than in most shampoo ads.
|
|||
|
With a voice that would have spontaneously melted both the Arctic and
|
|||
|
Antarctic ice caps, she sighs: "Can I be of *any* help to you, sir?" (Please
|
|||
|
note the emphasis on the word 'any')
|
|||
|
I open my eyes when I discover that her beautifully hewn body blocks the rays
|
|||
|
of the sun that try to pierce my eyelids; I clearly see the shapes of what God
|
|||
|
must have had in mind when he designed breasts.
|
|||
|
"No thanks," I mutter, "just close the damn blinders and I'll be blissfully
|
|||
|
happy."
|
|||
|
She looks at me, utmost wonder portrayed in her endearing rainbow eyes. She
|
|||
|
then looks at her blouse as she starts to slowly unbutton it. While doing
|
|||
|
that, she opens and closes her eyes regularly, as if in slow motion. She wears
|
|||
|
a lovely teint of eye-shade, I can now clearly see. Her hair still glimmers in
|
|||
|
the sun like purest silk from far away Eastern countries.
|
|||
|
Yeah....those are surely the things that God must have had in mind...
|
|||
|
She slowly turns around and walks to the window, closing the blinders,
|
|||
|
drawing the curtains, too. She makes each move as deliberate as possible,
|
|||
|
trying to make each and every animation as seductive as it can possibly be.
|
|||
|
Soon, the room is only lighted by a dim spotlight above the bed as she gently
|
|||
|
walks back to my bed.
|
|||
|
I must have dozed off for a few moments just after she closed the blinders
|
|||
|
and drew the curtains, as suddenly she isn't wearing her mini-skirt any more,
|
|||
|
either. She now only wears some white lingerie, the edges of which are
|
|||
|
decorated with the finest lace.
|
|||
|
She sits down on my bed, and with her warm and lovely voice asks whether I
|
|||
|
would like to touch her. When I don't respond to this invitation, she shows
|
|||
|
even more wonder in those rainbow eyes of hers, and gently puts one of my
|
|||
|
hands on her left thigh.
|
|||
|
Her leg feels like velvet under my fingers. Purest, finest and softest
|
|||
|
velvet, that is. I sense her warmth, and I hear her breathing slowly as she
|
|||
|
moves closer to me on the bed.
|
|||
|
She kisses the long and well manicured fingers of her right hand, then puts
|
|||
|
them at my dried-out lips.
|
|||
|
No response.
|
|||
|
She glances around as though someone might be looking, then carefully removes
|
|||
|
the final part of textile that is covering the upper part of her delightful
|
|||
|
body. She bows over me and puts her lips on mine. Her lips are soft, warm and,
|
|||
|
like Raymond Babbitt would say, wet.
|
|||
|
She releases her lips from mine, doing this in such a lovely way that many
|
|||
|
men would have found that even more exciting than the actual kiss. This
|
|||
|
promises more!
|
|||
|
Yet, there is no response whatsoever from my side. Glad to find that no light
|
|||
|
was trying to kill my sensory nerves that had had their best time processing
|
|||
|
the crushing pain in my head, I close my eyes and nodd of again.
|
|||
|
"Nurse," someone standing in the doorpost whispers, "you may stop now."
|
|||
|
A man wearing spectacles and a long white coat stands there. In his hands he
|
|||
|
holds a notepad and a pen; on his coat hangs an ID plate reading "Dr. James
|
|||
|
Hamilton".
|
|||
|
"No response to sex," he says as he writes the words down.
|
|||
|
The gorgeous nurse collects her clothes and leaves the room.
|
|||
|
"Creep," she whispers below her breath as she turns around just before
|
|||
|
walking through the door. The last thing I could have seen when she
|
|||
|
disappeared into the dark corridor was the sustained wonder blurring vision in
|
|||
|
her rainbow eyes.
|
|||
|
|
|||
|
ALCOHOL
|
|||
|
|
|||
|
Next, another girl comes in. She is wearing a black miniskirt with a small
|
|||
|
white apron embroidered with lace, a black blouse, black tights, high heels
|
|||
|
and a laced alice-band that keeps her long, curly black hair tidy. Her large,
|
|||
|
brown eyes look at me as I lie on the bed with open mouth, still nodding off.
|
|||
|
She's also much of a looker, but that was already clear by the aforesaid.
|
|||
|
She pushes a small carriage on which various bottles containing variously
|
|||
|
coloured liquids are located. Her hips sway enchanting to and fro as she
|
|||
|
pushes the thing to my bed.
|
|||
|
She simulates a modest cough in order to get my attention.
|
|||
|
She simulates another one for the same purpose.
|
|||
|
Yet, I simply nodd on.
|
|||
|
The girl looks to the door, in which' post the man wearing the long white
|
|||
|
coat still stands. He signals her to remain subtle, and to open a bottle and
|
|||
|
hold it under my nose.
|
|||
|
She seems puzzled when looking at the carriage, as if she doesn't seem to
|
|||
|
know what to select from this vast collection of fluids. To be perfectly
|
|||
|
honest, this lovely girl probably truly doesn't know.
|
|||
|
"Eighty-five percent," she reads aloud, fetching a flat bottle with "STROH-
|
|||
|
RUM" written on its label. She gently lifts up my head and moves the bottle
|
|||
|
subtlely to and fro under my nose. Within seconds, the whole room is filled
|
|||
|
with the smell of liquor - a smell that would on its own be enough to get
|
|||
|
quite brainmurderingly drunk.
|
|||
|
She pours the equivalent of a quadruple "STROH-RUM" down my throat,
|
|||
|
immediately stepping back a few paces.
|
|||
|
Apart from enormous quantities of droplets appearing all over my forehead,
|
|||
|
arms and neck, nothing happens.
|
|||
|
No move. No response.
|
|||
|
Now, it's her turn to display lots of wonder in her fawnen eyes.
|
|||
|
The man in the long white coat signals her to use another bottle, trying to
|
|||
|
lip-sync a word.
|
|||
|
"Ah...Plantiac," the girl agrees, and takes a bottle containing a brown
|
|||
|
fluid.
|
|||
|
"Hmm...thirtyfive percent..." she says approvingly.
|
|||
|
She pours a bit of the fluid into a small glass, takes a sip herself and then
|
|||
|
holds it under my nose. For a fragment of a moment, it seems as if I indeed
|
|||
|
open my eyes.
|
|||
|
The lids don't agree with what they're told, however, so they remain closed.
|
|||
|
Even a glass of the best and smoothest Dutch Brandy ever, Plantiac, doesn't
|
|||
|
succeed in drawing my attention or even waking me up. The divine smell of the
|
|||
|
liquid enters my nostrils, yet there is no effect to be noticed. Only the
|
|||
|
sweat on my body seems to disappear.
|
|||
|
"Fawn," the man with the long white coat whispers, "that will be all."
|
|||
|
Tears well up in her eyes as she seems to realize that her job wasn't
|
|||
|
performed satisfactorily.
|
|||
|
"You've done the best you could," the doctor says as she passed him, "Go and
|
|||
|
have a drink. It's on me."
|
|||
|
Just before actually leaving the room, she turns around and looks at me.
|
|||
|
"Creep," she whispers below her breath.
|
|||
|
The doctor looks up from his paper.
|
|||
|
"No response to alcohol. The patient does seem to have a certain effect on
|
|||
|
women, causing them to call him 'creep'", he proclaims, writing down the
|
|||
|
words.
|
|||
|
"Next." the doctor says.
|
|||
|
|
|||
|
MONEY
|
|||
|
|
|||
|
The room is now entered by cigarette-wielding babe with long, lank,
|
|||
|
incredibly blonde hair, lightblue eyes, bright red lips, long legs and a tight
|
|||
|
blue skirt just below the knees. She nonchalantly blows a few puffs of smoke
|
|||
|
to the ceiling in a way that would have made Jerry Hall jealous. Her hips
|
|||
|
dance as if in a supernatural trance in a way that would have made Mick Jagger
|
|||
|
go nuts instantly (and forget all about Jerry). She wears a very tight white
|
|||
|
blouse that leaves only little to guess about the shapes of the upper part of
|
|||
|
her anatomy.
|
|||
|
Her necklace is one of silver inlaid with many a diamond; a solid golden
|
|||
|
bracelet ornaments her right wrist whereas the other one is sublimified by a
|
|||
|
Rolex watch. Her left breast supports a priceless brooch. If my nose would
|
|||
|
have been open to any alien impressions, it would have sensed a most
|
|||
|
extravagantly expensive perfume (one of those 'turn-the-men-on-because-it-
|
|||
|
brings-out-the-worst-in-'em' brands, something like Loulou). But it wasn't, so
|
|||
|
it couldn't.
|
|||
|
She also sits down on my bed, and from somewhere she gets about 10,000 real
|
|||
|
US dollars that she starts to move back and forth under my nose. She smell of
|
|||
|
fresh paper money appears to have more penetrating power than her expensive
|
|||
|
perfume, as in my dreams I now vividly imagine myself swimming in a warehouse
|
|||
|
full of thousand dollar bills - much in the fashion like a certain member of
|
|||
|
the Duck family would.
|
|||
|
Yet the potence of the smell and the associative thought is not enough to
|
|||
|
make me wake up. At times, I only see coloured shapes moving in specific
|
|||
|
patterns across my retina, sometimes littered with sound effects.
|
|||
|
I make a sudden move with my right hand, as if wanting to grab a joystick,
|
|||
|
pushing its fire buttons rapidly. The woman startles and nearly drops her
|
|||
|
cigarette on the bedlinen.
|
|||
|
"Creep," she hisses, slaps my face, stands up and walks away. In style.
|
|||
|
Even the way in which she did this would have made Mick Jagger go berzerk.
|
|||
|
Just before passing the doctor, who is scribbling something on his notepad,
|
|||
|
she turns around. If I would have looked, I would have seen something like
|
|||
|
wonder in her bright blue eyes before she vanished into the darkness of the
|
|||
|
corridor.
|
|||
|
Only the tap-tap sound of her high heels can be heard for a few moments
|
|||
|
longer, until that also fades away into silence.
|
|||
|
"No response to money," the doctor sighs, "NEXT!"
|
|||
|
|
|||
|
HEAVY METAL
|
|||
|
|
|||
|
Another girl, this time a rather common one, enters the room. She wears
|
|||
|
amazingly high stiletto-heels on which she seems barely to be able to balance
|
|||
|
her gait, fishnet stockings, an extremely tight pair of leather black trousers
|
|||
|
and a torn Metallica T-Shirt; various metalware items cover her neck and arms.
|
|||
|
Her hair is dyed almost perfectly white, and falls in broad curls over her
|
|||
|
shoulders. Bright pink lipstick and blue eyeshade make her face, and she
|
|||
|
appears to be chewing some kind of cheap bubble gum. Under all the superficial
|
|||
|
impressions, she can still be seen to have been very pretty. Once.
|
|||
|
In short: A girl that would turn every headbangin' nervewreckin'
|
|||
|
muscletorturin' freakin' heavy metallunatic on, referred to as 'tart' by many
|
|||
|
potential mother-in-laws.
|
|||
|
The smell of artificial strawberry flavour fills the room as she lifts an
|
|||
|
enormous 2x50 Watts ghetto blaster off one of her shoulders and puts it down
|
|||
|
on the small desk near my bed. She plugs it into the nearest wall socket and
|
|||
|
presses a button. A small drawer flips out slowly, in which she puts a small
|
|||
|
shiny disc. She looks at the label approvingly, then presses another button.
|
|||
|
The drawer closes and a slight whizzing sound arises from the machine.
|
|||
|
Within seconds, the hospital room is filled with the noise of Heavy Metal
|
|||
|
Mayhem, blackened noise and hoarse cries proclaiming death, hell, destruction,
|
|||
|
murder and genocide. The girl starts jumping all up and down the room, wildly
|
|||
|
banging her head. That surely ain't no wig she's wearing.
|
|||
|
The doctor observes me silently in the doorpost. He is now holding his
|
|||
|
fingers in his ears, and he is trying to write with a foot, his notepad lying
|
|||
|
on the floor.
|
|||
|
As the vocalist's chainsaw massacres, the guitarists exploding strings and
|
|||
|
the drummer's atomic invasions are ready to plunge into a second cacophony of
|
|||
|
sound barrier obliteration, the doctor frantically signals the girl to shut
|
|||
|
down the device.
|
|||
|
She breathes hard as she moves the hair out of her eyes (and mine) and
|
|||
|
adjusts her torn Metallica T-shirt.
|
|||
|
I still lie there. Not affected by it all. Still no response whatsoever. Not
|
|||
|
as much as a fragment of a twitch.
|
|||
|
"The man's a bloomin' creep!" the girl cries as she unplugs the ghetto
|
|||
|
blaster and runs off, almost knocking down the doctor. Was that wonder to be
|
|||
|
seen in her eyes?
|
|||
|
"No response to Heavy Metal," the doctor writes down, "no hope left. Case
|
|||
|
terminated. Patient 20.18.5.1., Karsmakers, Richard C., sufferer of the Arcade
|
|||
|
Insanity Destruction Syndrome, will be put to sleep. Permanently."
|
|||
|
He beckons someone who had apparently been waiting in the hallway all along
|
|||
|
during these sessions.
|
|||
|
Another nurse, looking like an identical twin of Gloria Estefan, comes in.
|
|||
|
She wields a hypodermic syringe labelled 'Cyanide'. She rolls up my sleeve and
|
|||
|
sticks it in my arm, then slowly injects the liquid into my veins.
|
|||
|
The last things I see are small coloured objects flying across my retina in a
|
|||
|
specified pattern. My hands make a last sudden move, trying to grab a
|
|||
|
joystick, press a fire button. As my life and last strength flow away from me,
|
|||
|
I faintly motion the nurse to bend over to me.
|
|||
|
Hoping to get a chance to hear my last confession, an oral version of my
|
|||
|
will, or even receiving a last regretful kiss of farewell, she does so. I
|
|||
|
whisper something in her ear.
|
|||
|
A moment later, I utter my last breath. Cyanide works fast and efficiently.
|
|||
|
"Space Invaders?" the nurse wonders, "what a creep!"
|
|||
|
|
|||
|
Original version written early 1989. Rehashed September 1993.
|
|||
|
|
|||
|
|
|||
|
= CIRCUS GAMES ===============================================================
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
|
|||
|
Tiny droplets of salty water emerged from certain microscopic cavities on the
|
|||
|
forehead of Cronos the Cumbersome, formerly mercenary and hired gun, now one
|
|||
|
of the new acts of Circus Piccadilly. Especially where the salty liquid poured
|
|||
|
across a sore wound inflicted upon him when his gun had exploded in a previous
|
|||
|
story due to someone sticking his finger in the barrel when the trigger was
|
|||
|
about to be pulled, it ached most profusely. Before him was the deep abyss of
|
|||
|
the theatre, with a concrete floor covered by a thin layer of sand located
|
|||
|
right at the bottom. A trapeze bar swung to and fro in the air. Spotlights
|
|||
|
were aimed at him. Many, many metres below him, hundreds of the planet's
|
|||
|
inhabitants sat gazing with open mouths.
|
|||
|
He was about to do the most dangerous trapeze discipline ever done by a
|
|||
|
rookie.
|
|||
|
|
|||
|
It had all started two or three weeks ago. Killing was his business, and
|
|||
|
business wasn't good at all. He had come here to liquidate a writer of a
|
|||
|
book that had apparently offended some kind of religious group on Earth. Of
|
|||
|
course they were being childish, but Cronos wasn't about to question anyone
|
|||
|
who paid.
|
|||
|
Lots of outlaws and refugees lived on Ambulor Eight, and Warchild had
|
|||
|
considered it his best bet to look for the author who had fled after the first
|
|||
|
few threats had been made.
|
|||
|
So it turned out to be. The author had been found quickly and was eliminated
|
|||
|
accordingly, but now he had to go back to Earth to get his totally immodest
|
|||
|
fee. And that was a tougher job than he had imagined it to be. He didn't have
|
|||
|
any money on him and some outlaw had pinched his American Express Traveller's
|
|||
|
Cheques.
|
|||
|
He had gone to an employment agency in search for some means to earn money in
|
|||
|
a decent way. It was very difficult. He knew how to handle just about every
|
|||
|
weapon and he was a master in most martial arts, but didn't have any academic
|
|||
|
qualifications.
|
|||
|
The job he got at the Ambulor Eight Thai Boxing Training Centre hadn't worked
|
|||
|
out satisfactorily: After he accidentally crippled a pupil there, he was
|
|||
|
assigned to clean the sanitary availabilities. When he had to clean away the
|
|||
|
excrements of a Mutant Maxi Mega Monster of Multifizzic Omega once, which are
|
|||
|
regarded as the Smelliest Creatures in the Universe, he found out that he
|
|||
|
definitely wasn't 'educated' to do this kind of job.
|
|||
|
Another job, at the Salvation Army, also hadn't worked out due to rather
|
|||
|
obvious reasons.
|
|||
|
So now, eventually, he had been hired by a circus. Nobody knew why they had
|
|||
|
decided to select him, least of all Warchild himself. Probably his utter lack
|
|||
|
of being able to come up with any qualifications at all had helped.
|
|||
|
|
|||
|
And now he stood there. About to do something that he was not supposed to
|
|||
|
survive, probably. He saw the circus manager standing, partly behind a
|
|||
|
curtain, talking with a dude that looked just as mutant as the indescribable
|
|||
|
thing he recently saw in a Thai Boxing School's loo.
|
|||
|
"Another one whose payment cheque we can tear apart in a minute or so," the
|
|||
|
circus manager whispered, "I still can't believe he agreed to do this stunt -
|
|||
|
not with his total lack of experience!"
|
|||
|
He chuckled, accidentally swallowing a piece of chewing gum. He coughed, and
|
|||
|
the mutant creature next to him patted him roughly on the back.
|
|||
|
Cronos couldn't hear this conversation, of course. Not only because they were
|
|||
|
whispering and generally were too far off, but also because he had forgotten
|
|||
|
his hearing aid back on his home planet.
|
|||
|
|
|||
|
The trapeze bar was coming towards him now. He jumped. Just about every
|
|||
|
female creature and several weak-hearted outlaws cried out when they saw the
|
|||
|
huge body hurtling itself through the air, totally missing the trapeze bar by
|
|||
|
several yards.
|
|||
|
"Shit," he said, before crushing down into the heavy concrete floor, many,
|
|||
|
many feet below.
|
|||
|
|
|||
|
Cronos Warchild currently resides in the Ambulor Eight Hospital for the Very
|
|||
|
Very Splattered, surrounded by rather a lot opf nurses and people that keep on
|
|||
|
talking about pills, poison, jumping off high buildings and trying to stop
|
|||
|
Arcturian Mega Trains.
|
|||
|
|
|||
|
Original written late 1988. Rehashed September 1993.
|
|||
|
|
|||
|
|
|||
|
= SLY FOR PRESIDENT ==========================================================
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
Inspired by "Missing an Action", an awful load of cinematographical clich<63>s
|
|||
|
put together, starring Chuck Stallone. Or was it Sylvester Norris?
|
|||
|
|
|||
|
|
|||
|
It is damp. Very. It is hot. Very, too. The hero strides alone, unhindered by
|
|||
|
mosquitos and leeches. Grim determination shines in his eyes. He needs no
|
|||
|
helmet. Only his faithful M-16 is at his side, a couple of hand grenades cling
|
|||
|
to his belt. His Colonel awaits him at an airbase in a neighbouring country.
|
|||
|
The malaria-ridden water splashes freely around him as he crosses yet another
|
|||
|
small river, penetrating ever deeper into the very bowels of the jungle. In
|
|||
|
his mind he sees frightened faces of worn-out men. Fellow Americans,
|
|||
|
boyfriends, husbands. Fathers. He sees scars all over their bodies. He sees
|
|||
|
brains being blown out by mandatory Russian roulette, wounds inflicted by
|
|||
|
brute Vietcong sergeants' knives. Sights that make him hardened, make him
|
|||
|
persevere, make him struggle to go on and reach his Goal.
|
|||
|
He walks on, seemingly unperturbed by the long vines and dense undergrowth
|
|||
|
that would have made any soldier's offense damn hard. But this hero is a tough
|
|||
|
one. Very. And he is angry. Very, too.
|
|||
|
The sound of exotic birds cannot please him, nor the exquisite beauty of
|
|||
|
flowers that hang from branches and seem to leap at him, as if rejoicing, from
|
|||
|
tree trunks.
|
|||
|
He stops suddenly, brushing aside some fallen leaves.
|
|||
|
ZAP.
|
|||
|
A booby-trap, hidden.
|
|||
|
Cleverly, he trips the wire from a distance with the nozzle of his best
|
|||
|
friend. A sharp object flings itself into a tree, passing through air where he
|
|||
|
should have been. But not him. Not this smart American hero. Not the man who
|
|||
|
doesn't even need a helmet. Not the man of a few grunts and even fewer words.
|
|||
|
His eyes narrow. Was that something suspicious he heard?
|
|||
|
ZAP.
|
|||
|
He sees a Vietcong patrol through the low trees. They haven't spotted him at
|
|||
|
all.
|
|||
|
Will he shoot them? No. He can't risk the camp hearing distant shots. They
|
|||
|
will be warned in that case, which is hardly the hero's intent.
|
|||
|
He waits until the patrol has disappeared from sight. He is not only tough,
|
|||
|
but he's also very smart. The all-time American hero. The camp is getting
|
|||
|
nearer. He fingers his Rambo knife. It is one of those large things with
|
|||
|
compass and fishing gear built in. Not that he needs any of that. All he ever
|
|||
|
needed was the needle, that he sometimes used to stitch his own wounds,
|
|||
|
without sedation of course. It had been a while ago now. It had been cold. It
|
|||
|
had been in the middle of nowhere. And it had been something that he preferred
|
|||
|
not to have flashbacks of.
|
|||
|
Once he had arrived back home, his friends had all started to die of cancer.
|
|||
|
Whithered away by so-called harmless Agent Orange. He knew nobody from back
|
|||
|
then who was still alive. Nobody, that is, except for his Colonel. His Colonel
|
|||
|
who had called upon him to single-handedly rescue a dozen Prisoners Of War
|
|||
|
still held in the People's Republic. Chuck had done it, so why couldn't he,
|
|||
|
the hero?
|
|||
|
|
|||
|
Meanwhile, in a POW camp deep in the jungle, an evil sergeant has tied an
|
|||
|
innocent American soldier to a wall. He administers electric shocks to the
|
|||
|
poor man. Just to prove his point, the Vietcong bastard takes a knife and cuts
|
|||
|
a long wound across the prisoner's chest.
|
|||
|
ZAP.
|
|||
|
The prisoner bites his tongue and closes his eyes in intense agony, but does
|
|||
|
not utter a sound. The Vietcong sergeant looks at him and laughs an evil grin.
|
|||
|
It's the kind of person you'd like to have someone shoot.
|
|||
|
In the background, other prisoners can be heard. They cry in pain. It seems
|
|||
|
as if all enemy soldiers have recently read books on torture. De Sade, that
|
|||
|
kind of thing. Really sick.
|
|||
|
They're all the kind of people you'd like to have someone blow up.
|
|||
|
A feeling of premonition hangs in the air.
|
|||
|
|
|||
|
The hero is torn from his sad thoughts when he sees a fence of rusty barbed
|
|||
|
wire before him. Behind it he sees bamboo towers and huts. The kind that blow
|
|||
|
up spectacularly and burn easily.
|
|||
|
ZAP.
|
|||
|
Darkness falls. The sound of crickets is deafening.
|
|||
|
He takes out his binoculars. At first he sees nothing except for the odd
|
|||
|
soldier toting a Russian automatic. They talk in an incomprehensible language.
|
|||
|
Incomprehensible, that is, to anyone but the hero. Having served several
|
|||
|
tours, he has succeeded in learning the language tolerably well. Well enough
|
|||
|
to tell a Saigon prostitute what he wants, at any rate.
|
|||
|
ZAP.
|
|||
|
He sees small cages. Through the sturdy bamboo bars, desperate faces can be
|
|||
|
seen. There are rats. They sweat and stink. The rats, too. Morsels of food are
|
|||
|
left on broken plates on the muddy floor. Even the prisoners don't touch it.
|
|||
|
The hero waits some more. At about midnight, having listened to the crickets
|
|||
|
long enough, he cuts through the barbed wire and succeeds in planting plastic
|
|||
|
explosives under each major hut without being spotted.
|
|||
|
5...4...3...2...1...
|
|||
|
ZAP.
|
|||
|
The huts blow up in perfect sequence, each shabby bamboo hut transforming
|
|||
|
itself in an explosion of fire equal to that of gallons and gallons of fuel,
|
|||
|
all at the hand of a bit of plastic explosives. Vietcong soldiers drop off
|
|||
|
high spots dramatically, doing one or two mortal saltos, hitting the ground
|
|||
|
outside of view.
|
|||
|
ZAP.
|
|||
|
The first soldiers wake up from the nearby barracks. They run outside,
|
|||
|
shooting, against a background of blazing fire. They speak and yell commands
|
|||
|
in that same funny language observed earlier. They spot the hero after a few
|
|||
|
moments and start shooting at him, about two dozen of them.
|
|||
|
ZAP.
|
|||
|
They all miss him, miraculously (very). Bits of sand explode in the ground
|
|||
|
around him, splinters of bamboo disconnect themselves violently from the hut
|
|||
|
before which he stands. He does not need to take cover, for he is the hero. It
|
|||
|
would be out of the question for a hero to get shot. At least not when they're
|
|||
|
as tough as him, nor when they're on a suicide mission like his. He shoots a
|
|||
|
couple of rounds, three at the most, killing all of the evil enemies.
|
|||
|
ZAP.
|
|||
|
The evil sergeant is still alive. His evil grin is still plastered on his
|
|||
|
face, his hands are still wet with the blood of a beautiful young American
|
|||
|
girl's GI. He scans the camp for the hero, sees him almost immediately. He,
|
|||
|
too, stands before the dramatic background of fire and burning frameworks.
|
|||
|
The bastard grabs a gun from one of his dead men that happens to lie close,
|
|||
|
shoots a bit at our hero and rolls off to a side.
|
|||
|
ZAP.
|
|||
|
The hero suddenly disappears, leaving the sergeant puzzled but unaware of the
|
|||
|
consequences, to appear behind the Vietcong man a little while later. The hero
|
|||
|
is a very fair man. He coughs politely, enabling the Vietcong officer to turn
|
|||
|
around and aim his automatic at him.
|
|||
|
ZAP.
|
|||
|
Gallons and gallons of blood explode from the body of the evil Vietcong
|
|||
|
bastard as his lifeless body is hurled to the ground, maimed by round after
|
|||
|
round of lead that is shot from the smoking barrel of the hero's M-16. A look
|
|||
|
of satisfaction arrives at the proud soldier's face. Mission accomplished.
|
|||
|
He takes out a cigar, lights a match on his boot and starts smoking.
|
|||
|
ZAP.
|
|||
|
Someone puts on a record of violin music as the hero walks to the cages,
|
|||
|
slowly but full of purpose, and breaks open the locks with his powerful,
|
|||
|
muscular arms. Grateful anorexic American POWs stumble out of the shacks,
|
|||
|
muttering their thanks and caressing their wrists as ropes are untied. One or
|
|||
|
two of them scream screams of gladness.
|
|||
|
The music is pumped up as a helicopter seems to appear from virtual
|
|||
|
nothingness. Dust is whipped up, long unkempt hair is flung in brave soldiers'
|
|||
|
faces. Light beams pry to and fro through the darkness.
|
|||
|
The hero stands tall, directing his recently gained friends into the chopper,
|
|||
|
on their way back home. He supports a few. They look up at him utterly
|
|||
|
respectfully. They go back to the loving embrace of their spouses or
|
|||
|
girlfriends. Back to where they might see their own children for the first
|
|||
|
time.
|
|||
|
Home. A place where people think they've been busy killing babies, where
|
|||
|
spouses or girlfriends have run off with drug-crazed hippies, where their
|
|||
|
children have joined peace movemements and are heavily into flower power, free
|
|||
|
love, and give peace a chance.
|
|||
|
|
|||
|
The hero walks off in the sunset, M-16 slung aesthetically yet casually
|
|||
|
across his broad shoulder, totally unaware of what he has done.
|
|||
|
And the bad thing is that he'll do it again in the sequel.
|
|||
|
|
|||
|
Original written early 1992, rehashed September 1993.
|
|||
|
|
|||
|
|
|||
|
= ECO ========================================================================
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
|
|||
|
It had been a stormy night, and Charles had a headache when he came on deck
|
|||
|
and started searching for Fitzroy, captain of the warship "Beagle". That
|
|||
|
darned Henslow had talked him into going on this trip and he had regretted it
|
|||
|
more than once. As a matter of fact he did now. It was September 15th 1835,
|
|||
|
and he still hadn't gotten used to the dayly routine aboard this ship that he
|
|||
|
now had been on for almost four years. Ah, there was Fitzroy.
|
|||
|
"Good morning, Robert!" Charles yelled to get the man's attention.
|
|||
|
"Good afternoon, I'd almost say, old chum!" Fitzroy replied.
|
|||
|
"Been looking at my fossils, again?" Darwin could see the disturbed look in
|
|||
|
the captain's eyes. Having been brought up on the creational story, it was
|
|||
|
rather hard for someone like Fitzroy to explain the existence of the fossils
|
|||
|
they had found in South America.
|
|||
|
Fitzroy nodded. "It sure is peculiar that these creatures have once roamed on
|
|||
|
our earth. I still cannot grasp it, Charles."
|
|||
|
Nor could Charles, but he soon was to know everything he needed it. He'd just
|
|||
|
have to be patient.
|
|||
|
|
|||
|
The next day, Charles was awake much earlier, and his headache had gone, too.
|
|||
|
"Today, I'm going to change the world", he thought to himself when he yawned
|
|||
|
and cursed at his beard that was once again stuck between two planks of his
|
|||
|
bunk. He could not have known that his careless statement was only all too
|
|||
|
true.
|
|||
|
"Land ahead!" someone screamed. Darwin startled, accidentally and rather
|
|||
|
instantly loosening his beard to his great agony. Cursing four-lettered
|
|||
|
words, he went on deck and took a deep breath.
|
|||
|
The Galapagos Islandslay before him.
|
|||
|
|
|||
|
Darwin could already see the extravagant fauna as he approached the isles in
|
|||
|
his small rowing boat. He had left the others aboard the "Beagle", as he knew
|
|||
|
that they would only disturb him in his filoso-biologic thoughts and the
|
|||
|
theories he was trying to match together. It all seemed like a big puzzle to
|
|||
|
him (he would have thought about "Jigsaw puzzle" if these would have existed
|
|||
|
back then, but he didn't now). Where did the South American fossils fit in?
|
|||
|
Could animals change their appearance during the course of centuries or even
|
|||
|
longer eras?
|
|||
|
|
|||
|
His eyes were heavily occupied as he saw the diverse animals on these
|
|||
|
seemingly dead and remote islands. He saw about a dozen finches that he had
|
|||
|
never seen before. Each had its own peculiar form of bill, and he wondered why
|
|||
|
they would have such various shapes. He took out his drawing book and started
|
|||
|
drawing. "I will call them Darwin finches," he thought.
|
|||
|
His words were not yet forgotten when the sky became troubled with heavy
|
|||
|
clouds. Some of the iguanas sought shelter, and the finches flew away.
|
|||
|
This strange human had seen enough of them. He would have to think of the
|
|||
|
puzzle himself, a puzzle to which they had just added a piece.
|
|||
|
Charles looked up and knew he was going to be wet if he didn't start doing
|
|||
|
what the iguanas did pretty soon. To his luck, fate had made sure that there
|
|||
|
was a small cavern nearby and he decided to run for shelter as heaven opened
|
|||
|
its taps and started making everything wet all through.
|
|||
|
|
|||
|
After he had regained his breath, Charles started exploring the back of the
|
|||
|
small cave. Who knows, he might find some additional fossils! But what he
|
|||
|
found left him in mere amazement: Hidden behind a boulder and partly covered
|
|||
|
with sand and dust, he saw a large cube with a glass front, and a smaller flat
|
|||
|
light-grey thing with smaller cubes on it.
|
|||
|
"Q, W, E, R, T, Y", Charles read as he studied the small cubes. He blew away
|
|||
|
some of the dust and discovered a name on the right of the plank and read
|
|||
|
again: "Apple...MacIntosh?!". Having had the privilege of seeing a typewriter
|
|||
|
in his teens, Charles immediately saw the striking resemblance of the plank
|
|||
|
and the typewriter. "It must be a keyboard, but where must I fit the paper?"
|
|||
|
he thought.
|
|||
|
He investigated further, and found some small quadrangled, flat objects near
|
|||
|
the device. He took his notepad and wrote down: "September 16th, year of our
|
|||
|
Lord 1835. I have just sought shelter in a nearby cavern and I have found
|
|||
|
something utterly weird, accompanied by a large cube with a glass front and
|
|||
|
several small and flat objects that seem to be..." he did an estimated guess
|
|||
|
"...3.5 inches wide. I will investigate further!" He closed his notebook and
|
|||
|
did what he had just written down.
|
|||
|
|
|||
|
He touched the glass of the cube, and tried to look in it. Nothing could be
|
|||
|
recognized; it was just pitch black. Suddenly, lightning and thunder roared
|
|||
|
across the sky. Charles jumped back as the glass front just as sudden went
|
|||
|
white and a small red light started glowing on the device that he concluded to
|
|||
|
have been made by a member called Apple of an ancient civilisation. After a
|
|||
|
few seconds, Charles heard music.
|
|||
|
He closed his eyes and thought, "Is this heaven? Am I dead? Is this music of
|
|||
|
angels?" When he opened his eyes he could not see Saint Peter, nor any angels,
|
|||
|
and not even his deceased stephmother, but he did see the cave and an image
|
|||
|
that had appeared on the monitor.
|
|||
|
"ECO," he read, "...the contest of evolution...a game of survival...survival
|
|||
|
of the fittest..." He did not dare to touch anything and wrote down what he
|
|||
|
saw; "Is this wizardry? Is this some spell of old that tries to help me to
|
|||
|
complete my puzzle?" He closed his book in mere amazement as the screen
|
|||
|
switched and the cube started emitting sounds and showing an animated
|
|||
|
sequence.
|
|||
|
It seems he had stumbled into some kind of futuristic machine running a gene
|
|||
|
manipulation system of sorts. He saw a spider feeding, multiplying itself and
|
|||
|
grow different by means of gene manipulation.
|
|||
|
"That's it!" Charles exclaimed, "Species can manipulate their genes by pure
|
|||
|
coincidence...bla bla bla " (I will not let you be witness of the whole speech
|
|||
|
he gave, but it included terms like 'evolution', 'mutation', 'survival' and
|
|||
|
the like).
|
|||
|
Charles rushed back to his rowing boat, just in time to escape the lightning
|
|||
|
smashing the cavern to bits. "Damn!", he thought. "Who will now believe me?"
|
|||
|
Right he was. Pity he couldn't stay there any longer. If he would have done
|
|||
|
that, he would also have been able to come with DNA structure theories and the
|
|||
|
lot, theories for which human civilisation now had to wait some more decades
|
|||
|
to be found out.
|
|||
|
Darwin had to think and contemplate until 1859 before he would get the
|
|||
|
courage to publish his theories (that's the official reason; well-informed
|
|||
|
sources told that he needed all that time to formulate everything he was
|
|||
|
taught by the wizard machine).
|
|||
|
He wrote down his findings and called his book "On the Origin of Species by
|
|||
|
means of Natural Selection". That was a term pinched from the wizard machine,
|
|||
|
actually.
|
|||
|
|
|||
|
Original written somewhere in 1987. Rehashed September 1993.
|
|||
|
|
|||
|
|
|||
|
= IGNATIUS' DAY OUT ==========================================================
|
|||
|
by Stefan Posthuma
|
|||
|
|
|||
|
Inspired by and dedicated to John Kennedy Toole who, with his "Confederacy of
|
|||
|
Dunces", created the most brilliant character ever. This is only my feeble
|
|||
|
attempt to approach the amazing personality of Iganatius J. Reilly.
|
|||
|
|
|||
|
|
|||
|
"BLASPHEMY!" Ignatius yelled at the skinny young man standing in front of
|
|||
|
him.
|
|||
|
"How dare you inflict your hideous views on me! Go on and assault some other
|
|||
|
innocent bystander. Leave me alone before I have you seized and lashed."
|
|||
|
"But I only want to inform you about our view on life", sputtered the young
|
|||
|
man who was dressed in a robe and had a bald, shining head.
|
|||
|
"Why have you chosen me to spill forth your obcene and primitive religious
|
|||
|
babble? Has your obscure sect chosen me as a victim? Am I to be slaughtered in
|
|||
|
front of a blood-stained altar to satisfy some ridiculous deity you worship?
|
|||
|
Get out of my way, I have pressing matters to attend to."
|
|||
|
Ignatius pushed the young man aside and headed down the station hall. The
|
|||
|
young man sighed and tried to get another traveller to buy some of the
|
|||
|
pamphlets he was carrying. The purpose of these was not exactly clear to him,
|
|||
|
but he liked the fact that he finally had something to do. It had taken him
|
|||
|
quite a while, though, to memorize all the things he had to say to people.
|
|||
|
Ignatius already regretted the fact that he had entered this station. Myrna
|
|||
|
had thrown him out of her flat and told him to go stay with her friend for a
|
|||
|
while. Since he didn't have enough money for a taxi, he had to take the tube
|
|||
|
to the place. His valve made a strange movement when he saw the masses of
|
|||
|
people assembled on the platform.
|
|||
|
The foul wind coming from the tunnel told him that a train was approaching.
|
|||
|
The mass of people started moving towards the edge of the platform and
|
|||
|
Ignatius tried to manoeuvre his bulk safely towards a vacant seat attached to
|
|||
|
the wall. But the train thundered into the station and he got swept away by
|
|||
|
the crowd.
|
|||
|
"Oh my God!", Ignatius yelled, "I will lose my delicate balance soon. My
|
|||
|
physique is not prepared for such wild motions."
|
|||
|
Some people gave him irate looks. Then he spotted some open train doors and
|
|||
|
changed course towards them. He heaved himself into the train and noticed to
|
|||
|
his horror that there were no more empty seats. The doors closed with a
|
|||
|
whirring sound and the train set itself in motion rather abruptly.
|
|||
|
Ignatius was not prepared for this and lost his balance. His arms waved
|
|||
|
wildly, in search of something to hold on to, but failed to grasp anything
|
|||
|
steady. He did however, knock the hat off an old lady's head before he
|
|||
|
dramatically collapsed on the floor.
|
|||
|
"Oh my God! I've been paralyzed!" bellowed Ignatius as he lay there. His
|
|||
|
valve closed with a snap and his left paw landed on a soft and sticky piece of
|
|||
|
chewing gum that sat stuck to the floor.
|
|||
|
Some people started laughing, and in the back of the car, a subway attendant
|
|||
|
started to make his way through the carriage to see what was going on.
|
|||
|
"Don't sit there and mock my misfortune. I've probably crushed some vital
|
|||
|
organs and will spend the rest of my existence in a hospital bed. Somebody
|
|||
|
help me before I fall into a state of shock! I need urgent medical attention.
|
|||
|
Somebody signal for help!"
|
|||
|
"All'ight pal, why don't you get up and stop yellin'", the attendant said to
|
|||
|
Ignatius.
|
|||
|
"Who are you? Are you qualified to perform first aid? I refuse to be crippled
|
|||
|
by some incompetent quack. Now stop stalling and help me up."
|
|||
|
Ignatius extended his left paw, forming a rubbery band between the floor and
|
|||
|
himself. The attendant pulled a face and took a step back.
|
|||
|
"What are you doing, you fool? Don't you see I am in severe distress?"
|
|||
|
"You got gum allover yaself man.", the attendant commented.
|
|||
|
Ignatius noticed the pink mass on his hand now and turned pale.
|
|||
|
"Disgusting!", cried Ignatius and slowly pulled himself up.
|
|||
|
"Which brainless ruminater has dropped this revolting piece of chemical
|
|||
|
tartar?" Ignatius hollered while holding his hand in the air like a prosecutor
|
|||
|
displaying a murder weapon.
|
|||
|
"You?" he yelled at a spotty girl whose jaws were moving rhythmically.
|
|||
|
"Hey fatso, I ain't dropping no gum in no subway. My momma won't let me," she
|
|||
|
replied between chews.
|
|||
|
"OK mister, why don't you get that stuff off ya hand and keep calm", the
|
|||
|
attentant ventured. He had always been told to try and keep people calm in
|
|||
|
situations like these.
|
|||
|
"Don't interrupt me while I am interrogating this juvenile jezebel. She's the
|
|||
|
cause of this outrage..."
|
|||
|
"Hey! Ain't nobody callin' me a jezebel!", the girl said and got up. She
|
|||
|
kicked Ignatius in the knee and headed for the doors. The train was
|
|||
|
approaching another station.
|
|||
|
"Seize her!" Ignatius cried. He was getting very excited now, his head was
|
|||
|
turning red and the white spots were forming on his hands again.
|
|||
|
"She assaulted me in public! Somebody apprehend that teenage barbarian! I
|
|||
|
will be maimed for life!"
|
|||
|
The train entered the station and grinded to a halt. Again, the momentum
|
|||
|
surprised Ignatius and he crashed into the attendant, who was not built for
|
|||
|
this kind of onslaught, causing the two of them to go reeling through the
|
|||
|
carriage.
|
|||
|
They were stopped by a post, and the attendant quickly escaped through the
|
|||
|
opening doors. Ignatius was left, panting and wheezing, leaning against the
|
|||
|
post.
|
|||
|
"What more do you have up you sleeve, Fortuna, you vicious trollop of
|
|||
|
destiny," Ignatius mumbled as he sat down heavily on two empty seats. He
|
|||
|
looked out of the window and saw a billboard on the tunnel wall of a young
|
|||
|
girl dressed in a bikini, advertising some sort of sun tan oil. His blue and
|
|||
|
yellow eyes closed to shut out this demoralizing display of decadency and
|
|||
|
revolt.
|
|||
|
"Prostitutes" he mumbled as he slipped away into a state of slumber.
|
|||
|
|
|||
|
Written autumn 1990. Slightly rehashed September 1993.
|
|||
|
|
|||
|
|
|||
|
= NO SMOKING =================================================================
|
|||
|
by Jason Brew
|
|||
|
|
|||
|
|
|||
|
"Ssshhhiiiittttt", groaned Alpha to himself as he felt his bowels release and
|
|||
|
the urgent mass escape his bodily prison. With a wry smile he thought to
|
|||
|
himself how true that word was - literally. After such a long journey it was
|
|||
|
good to be back on the ground, and he was looking forward to relaxing for a
|
|||
|
few days while work didn't need him.
|
|||
|
Alpha decided that he was going to become a completely apathetic slob while
|
|||
|
he was home - have a long wash, consume until he could do so no more, then
|
|||
|
shut the door and sleep the rest of the time off, until work called him in
|
|||
|
again.
|
|||
|
He felt the exodus from his bowels slow to a trickle and then stop
|
|||
|
completely, and he headed off to the shower room for a well deserved, thorough
|
|||
|
cleaning - he'd make sure that he got off all of the crusty bits. Re-emerging
|
|||
|
into the sunlight after a blissful shower he headed over for a feed, the food
|
|||
|
here wasn't the best - a bit too oily - but he was much too tired to go
|
|||
|
anywhere else. Luckily for Alpha the food had improved, and he was able to
|
|||
|
enjoy an enormous feast - at his employers expense - before he slowly cruised
|
|||
|
home and slept.
|
|||
|
|
|||
|
"Ssshhhiiiittttt", thought Alpha, "WHY ME???"
|
|||
|
It was hot and Alpha wasn't terribly impressed at being called back to work
|
|||
|
after only one day of apathetic bliss. He was really sure this trip was going
|
|||
|
to suck in a big way, so sure, that he was thinking of quitting right now,
|
|||
|
even before he went anywhere.
|
|||
|
"Nah", he resolved himself, "There's nothing else that I could do for a
|
|||
|
living, I'll just have to put up with it - it won't kill me."
|
|||
|
Then it was too late for second thoughts, and they were off on another trip.
|
|||
|
A half hour later Alpha was still lamenting his lost days of apathy, when an
|
|||
|
unfamiliar feeling stirred in the pit of his stomach.
|
|||
|
"Ssshhhiiiittttt", thought Alpha, "Don't tell me I'm getting a stomach bug -
|
|||
|
bloody hell - Life really is like that."
|
|||
|
|
|||
|
Ryan was a completely mindless, moronic arsehole. And he loved it. He
|
|||
|
thrived on it. It was what he lived his excuse of a life for. He was the
|
|||
|
sort of person to jump a six foot fence - because a sign on the other side
|
|||
|
said "Keep off the grass." He was the sort of person that throws their
|
|||
|
rubbish on the ground - next to the bin. He was the sort of person that asked
|
|||
|
for extra pickles on his macdonalds. He was that kind of person. He was also
|
|||
|
the kind of person that gets lucky, which is probably why he had just boarded
|
|||
|
the plane for an around the world tour.
|
|||
|
The first thing that Ryan noticed inside the plane was the plethora of big,
|
|||
|
bright red, "No Smoking" symbols on the walls. And to a completely mindless,
|
|||
|
moronic arsehole like Ryan, it was like putting a chiahuaua in front of a pit-
|
|||
|
bull.
|
|||
|
Even with all the bright red signs around, it still took Ryans' brain
|
|||
|
approximatly 45 minutes to come to the conclusion that it would be
|
|||
|
hysterically funny to have a cigarette on the plane, and off he went to do so.
|
|||
|
He wandered around for 10 minutes before deciding that the only place to have
|
|||
|
a smoke would be in the toilet, and in he went. Laughing all the while, he
|
|||
|
brought the smoke to his lips, flicked his lighter and inhaled deeply. When
|
|||
|
he'd finished the first one, he decided that that had been so funny that he
|
|||
|
was going to do it again.
|
|||
|
|
|||
|
The unfamiliar feeling in Alpha's stomach was now becoming a real worry as it
|
|||
|
just kept intensifying, he wriggled and wriggled but it had no effect and he
|
|||
|
soon began to feel a strange tingling sensation in his nose.
|
|||
|
|
|||
|
Ryan was in hysterics by now, which quickly ceased as the plane rocked madly
|
|||
|
for a few moments, but then resumed as he brought the third cigarette to his
|
|||
|
lips.
|
|||
|
|
|||
|
Alpha couldn't control himself any longer and a huge series of racking coughs
|
|||
|
burst from his air passages, then before he could recover his composure a
|
|||
|
huge grey object reared directly in front of him....
|
|||
|
|
|||
|
EXCERPT FROM THE DAILY NEWS (13/11/1993)
|
|||
|
|
|||
|
Townsville - A horrific plane crash occured here yesterday with all 211
|
|||
|
passengers killed instantly. Authorities have no idea as to the cause of the
|
|||
|
crash and are awaiting the discovery of the black box for clues. Eyewitnesses
|
|||
|
say the plane, Alpha 151 Charlie, seemed to crumple in the midsection and
|
|||
|
straighten out before smashing into the side of Mt Stuart....
|
|||
|
|
|||
|
Written summer 1993.
|
|||
|
|
|||
|
|
|||
|
= SHADOW OF THE BEAST ========================================================
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
|
|||
|
Some days, nothing goes your way. The weather is that of a sunny early-autumn
|
|||
|
day, and although it's a bank holiday your diary tells you that you swapped it
|
|||
|
in exchange for an additional day off around Christmas. The light outside is
|
|||
|
that very odd shade of what it normally is, which tells you today is actually
|
|||
|
not a day like any other. Your Great Love is far away from you but you know
|
|||
|
you can't reach her by phone since she is at some kind of obscure children's
|
|||
|
village teaching tiny kids how to take care of their pets. A few of your
|
|||
|
colleagues that also work at a day like that suddenly find ways of doing
|
|||
|
things that do not happen to include you. Outside, everybody is happy and
|
|||
|
celebrating some kind of Great Unity. You know that the most gorgeous girls in
|
|||
|
town, the ones that are miraculously hidden from sight on all other days of
|
|||
|
the year no matter how hard you look, walk around on a nearby fun fair. You
|
|||
|
*know* they are, for you saw some of them for a brief instant as you went to
|
|||
|
get your post from your mail address (which only consisted of unsollicited
|
|||
|
stuff and a traffic ticket). On top of that, you notice that the ache in your
|
|||
|
throat, a first sign of a heavy flu coming up, gets worse by every drop of de-
|
|||
|
carbonated lukewarm Cola you swallow. You know you should go and have a bite
|
|||
|
to eat since you haven't had anything all day, but you're not hungry. Then you
|
|||
|
spill the last glass of Cola, de-carbonated and lukewarm as it is. You see the
|
|||
|
fluid disappearing in the carpet but you feel powerless and too futile to do
|
|||
|
anything against it.
|
|||
|
In short: Everybody seems to be having not too bad a time. Everybody, that
|
|||
|
is, but you.
|
|||
|
On a day like this, Wednesday, October 3rd 1990, this story was written.
|
|||
|
|
|||
|
The Beast had one of these days, too.
|
|||
|
|
|||
|
It had started as it had gathered the courage to face the challenge of
|
|||
|
getting out of bed. Some kind of psychological switch in its head had flicked
|
|||
|
the wrong way that night, and if only it knew why, it would have tried to do
|
|||
|
something about it. Yet it couldn't for it didn't, and when it looked in the
|
|||
|
mirror it saw a rather gloomy version of itself, looking astonishingly dreary.
|
|||
|
It hadn't quite understood this, for it had gone to bed early the evening
|
|||
|
before and by the time it had got up it was way past eleven in the morning.
|
|||
|
It had growled, and had been startled by the way it looked at itself when
|
|||
|
doing that.
|
|||
|
|
|||
|
At least the weather was OK. It was dark and gloomy like the Beast itself -
|
|||
|
the perfect day for the rather dark and gloomy job that it considered
|
|||
|
appropriate to do about once every year: Kidnapping a newborn human child.
|
|||
|
Not only was it gloomy and dark, but the ultimate darkness of the night was
|
|||
|
also approaching - as were some rather impressive thunderclouds that foretold
|
|||
|
heavy weather.
|
|||
|
As it closed the door of its dark abode in the back of a concealed cave in
|
|||
|
the mountains, it felt positively gloomy - even though it felt in his
|
|||
|
throbbing veins that on that very day a young boy had been born in the nearby
|
|||
|
valley where mortals roam, something that would normally have made it feel
|
|||
|
very glad and strangely warm inside.
|
|||
|
Everything was perfect except for its state of mind, yet there was nothing in
|
|||
|
its considerable power that could change that.
|
|||
|
|
|||
|
The valley started at about a three hours' walk from its cave. Since it was a
|
|||
|
Beast, however, it had means of transport at its disposal that really didn't
|
|||
|
make it necessary for one to walk any more, not even when going for a bit of
|
|||
|
groceries just around the corner.
|
|||
|
It jumped on its Harley and headed south, down to Nocilis Valley where it
|
|||
|
would satiate its immeasurable and inexplicable chronic desire to kidnap a
|
|||
|
human nursling.
|
|||
|
|
|||
|
The thunderclouds had held their promise, and now and again some heavy
|
|||
|
rolling, thunderous sounds...er....rolled through Nocilis Valley, accompanied
|
|||
|
by flashes of lightning and ghusts of violent rain the earth had but rarely
|
|||
|
seen before.
|
|||
|
Deep down in the valley, a small solitary house lay. Some smoke managed to
|
|||
|
arise from the chimney, climbing as it were against the severe downpour that
|
|||
|
shuddered the very tiles on the roof under which its fire burned.
|
|||
|
To the north of the valley, a dark silhouette of a creature stood poised,
|
|||
|
crouching on the corner of a ledge's edge. It waited eagerly, its red eyes
|
|||
|
gleaming with fire and torment gazing towards the frenzied souls in the
|
|||
|
shadows of the valley below.
|
|||
|
A crack of thunder broke the sound of rain.
|
|||
|
The creature was unmoved by the commotion of what seemed to be unnatural
|
|||
|
pandemoneum of the elements. It stood proudly, inhaling deeply, each muscle
|
|||
|
flexing as if in the stance of a great dimensional deity.
|
|||
|
As if in an immense state of rage, it suddenly spread its wings and dropped
|
|||
|
down towards the small, solitary house.
|
|||
|
If it had to be done today, then it might as well be done now - for the sake
|
|||
|
of suspense and all.
|
|||
|
|
|||
|
In the house, a woman sat in a rocking chair. Her beautiful voice sang a soft
|
|||
|
song, and she looked very happy. Now and again she would pause her singing,
|
|||
|
sigh a deep sigh of contentness, and then continue with an even softer, more
|
|||
|
gentle song.
|
|||
|
Would she have been named Susanne Vega and would she have lived in our time,
|
|||
|
she would have had no problem making a hit record singing about a dull every-
|
|||
|
day afternoon in some kind of coffee shop.
|
|||
|
But, apart from the fact that she wouldn't know what a coffee shop was, she
|
|||
|
wasn't and she wasn't, so she had and therefore didn't.
|
|||
|
In her arms lay a baby boy. It slept peacefully on the soft silken skin of
|
|||
|
her arms, seemingly unaffected by all the violence of nature that was going on
|
|||
|
outside.
|
|||
|
A cosy hearth fire threw the disembodied shadow of a gently rocking figure at
|
|||
|
the wall.
|
|||
|
|
|||
|
A bat-like shape descended from the ledge's edge, and its goal was obvious:
|
|||
|
It aimed to land directly on the roof of the small, solitary house in the
|
|||
|
valley.
|
|||
|
Shit. Wasn't thunder and lightning enough nowadays? Why did it have to rain
|
|||
|
like this? He liked cats and dogs, but not when they were raining.
|
|||
|
The Beast hoped it wouldn't slide off on all those slippery wet roof tiles
|
|||
|
when landing.
|
|||
|
|
|||
|
The woman still sang softly, yet a slight tremor in her voice hinted at
|
|||
|
sudden subconscious unrest deep inside her - as if she felt that great peril
|
|||
|
was drawing nigh.
|
|||
|
The baby woke up, as if triggered by the hint of a tremor in the woman's
|
|||
|
tender voice. A light touch of her fingers on the baby's forehead, however,
|
|||
|
made it close its eyes again.
|
|||
|
|
|||
|
Would this have been a movie, now would have been the moment for some rather
|
|||
|
heavy music to fade in. No saxophones but lotsa violins and associated
|
|||
|
instruments. Possibly a bit of percussion during the vital bits.
|
|||
|
|
|||
|
A sound as if a hundred crows had suddenly crash-landed on the roof tore the
|
|||
|
friendly silence in the house to shreds. The woman instantly stopped singing
|
|||
|
and looked up, covering the baby which immediately started to cry.
|
|||
|
The roof seemed to bulge inside as if some kind of enormous *thing* was
|
|||
|
standing on it.
|
|||
|
Part of the roof got torn off by savage hands, creating an opening through
|
|||
|
which two fiery red eyes peered in towards the frightened woman and her child.
|
|||
|
The Beast felt really pleased with itself.
|
|||
|
"GIVE THE CHILD TO ME, WOMAN," it intoned.
|
|||
|
The woman froze as a beastly hand was stretched in through the hole in the
|
|||
|
roof. It was a big, hairy hand; a hand with menacing claws that glittered in a
|
|||
|
treacherous way in the light of the small fire in the hearth.
|
|||
|
"GIVE THE CHILD TO ME, WOMAN," the Beast repeated. Nothing had actually
|
|||
|
changed in its voice, yet *something* made it sound almost infinitely more
|
|||
|
hideous than before.
|
|||
|
The hand extended itself further, deep enough to allow the woman to put her
|
|||
|
baby in its enormous palm.
|
|||
|
"No," she replied.
|
|||
|
Her voice was very soft yet, peculiarly, very strong.
|
|||
|
The Beast had already felt strangely uncomfortable all day, and when it had
|
|||
|
got up from bed that morning it swore that that would have been the first and
|
|||
|
last challenge of the day.
|
|||
|
Now it stood aghast. Simply abashed.
|
|||
|
"NO?" it simply said. Its voice had lost all of its hideousness and it was
|
|||
|
starting to wonder why it had actually set out to kidnap this baby boy in the
|
|||
|
first place.
|
|||
|
"No," the woman confirmed in her soft yet peculiarly strong voice.
|
|||
|
"WELL..." the Beast sighed, "I GUESS I'D BETTER BE OFF THEN. I THINK I LEFT
|
|||
|
THE GAS ON, ANYWAY."
|
|||
|
The woman nodded appreciatively. The baby stopped crying and now seemed to
|
|||
|
look up at the Beast in a rather accusing way, defiant and bold.
|
|||
|
The hand retreated.
|
|||
|
|
|||
|
"TODAY IS DEFINITELY NOT MY DAY," the Beast muttered to itself as it flapped
|
|||
|
out its wings and flew back to its mysterious, dark hiding place deep in the
|
|||
|
mountains to the north.
|
|||
|
|
|||
|
Original written October 3rd 1990 (German Unification Day). Rehashed October
|
|||
|
4th 1993.
|
|||
|
|
|||
|
|
|||
|
= BALLISTIX ==================================================================
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
|
|||
|
The loud cheering of the stadium audience silenced as the speakers bellowed.
|
|||
|
"Yeah, ladies and gentlemen! With quite considerable pride we hereby present
|
|||
|
to you the Superball competition of the century: Craterhead BC against
|
|||
|
Brainmanglers United. This might just be the most exciting Ballistix match
|
|||
|
ever, as these two giants battle against each other for the New Universal
|
|||
|
Trophy!"
|
|||
|
"Yeah, Derek!" another voice now shouted agitatedly through the speakers, "On
|
|||
|
your left, playing from left to right, you will notice the blockbusters of
|
|||
|
Brainmanglers United; on your right you will have noticed the raw dudes of the
|
|||
|
host team, Craterhead BC. It might be interesting to know that these teams
|
|||
|
only once stood opposed to each other before - in July 2137. The Brainmanglers
|
|||
|
then beat their opponents by 23-19!"
|
|||
|
"Well, Vince, that sure was a fight, wasn't it?"
|
|||
|
"Betcha, Derek!"
|
|||
|
|
|||
|
As the speakers silenced, the audience started to sheer, yelling assorted
|
|||
|
yells at people that didn't support their team.
|
|||
|
The noise was deafening when both teams actually entered the arena.
|
|||
|
"YEAH! Here they are!" the speakers burst forth again, "The match of the
|
|||
|
century is about the start. I see that the Brainmanglers are looking pretty
|
|||
|
mean tonight, don't you agree, Vince?"
|
|||
|
"Sure thing, Derek," the other voice proceeded, "I couldn't agree more! It
|
|||
|
looks like those stooges are set to win again, whatever the cost! And what
|
|||
|
about these..."
|
|||
|
"Wow, Vince! Do you see who's the umpire here?" Derek interrupted, "It's good
|
|||
|
old Tom 'Stubbly-cheeks' Johnson! Didn't he do the previous engagement, too?"
|
|||
|
"Betcha, Derek!" Vince replied.
|
|||
|
Both teams were out in the Arena after a few moments. They all wore special
|
|||
|
Ballistix suits, mostly made up of steel garments to protect their vital parts
|
|||
|
and thick clothing everywhere to absorb shocks and ricochet.
|
|||
|
|
|||
|
Where had Cronos Warchild - mercenary, hired gun, former trapeze artist, ex-
|
|||
|
member of the Salvation Army and toilet cleaner of the alien loo at the
|
|||
|
Ambulor Eight Thai Boxing Club, got himself into this time? Hardly had he been
|
|||
|
released from the Ambulor Eight Hospital for the Very Very Splattered when he
|
|||
|
was forcefully recruited to become a member of the Craterhead Ballistix Club.
|
|||
|
Well, anyway, it was a sure way of getting his hands on vicious amounts of
|
|||
|
dough - if he survived, that was. The recruiting officer - who had actually
|
|||
|
looked more like a goon - had told him that it was a pretty dangerous sports
|
|||
|
discipline, but his fellow players had told him stories that exceeded the
|
|||
|
crimp's stories by miles (if pain and suffering can at all be measured that
|
|||
|
way).
|
|||
|
He looked from under his helmet into the Arena and up into the audience. It
|
|||
|
made him remember drawings he had once seen of ancient Rome. He could only see
|
|||
|
people that had a distinct look in their eyes. They all wanted to see blood.
|
|||
|
But who cares, he thought to himself, he had been in far worse and far hotter
|
|||
|
situations. He'd just have to survive this game and then he would at least
|
|||
|
have enough money to return to his home planet and leave this Godforsaken
|
|||
|
planet and head for Earth to get his payment for a recent liquidation he had
|
|||
|
done.
|
|||
|
And he still hadn't managed to get back his American Express Traveller's
|
|||
|
Cheques.
|
|||
|
|
|||
|
The umpire, the aforementioned Tom Johnson with the stubbly cheeks, was now
|
|||
|
hovering above the Arena, just out of reach of both ricochet and flying parts
|
|||
|
of human bodies. He put a small metal thing in his mouth that seemed to look
|
|||
|
very much like a whistle. When he blew it, however, a sound came out that
|
|||
|
could only be compared with the noise you hear when a Monk who thinks the
|
|||
|
world is pink is dropped from 1932.23 metres height into a bath of sulphuric
|
|||
|
acid.
|
|||
|
Anyway, it was the signal that made all players run around the Arena, aiming
|
|||
|
their shooters at a large ball that had mysteriously appeared in the middle of
|
|||
|
the playfield.
|
|||
|
The game had begun.
|
|||
|
|
|||
|
Only seconds after the game had started, Cronos had been trampled on, shot
|
|||
|
three times, hit by the large ball twice, and spitted on at dozens of
|
|||
|
occasions. The audience also threw things in the Arena that hit him - he
|
|||
|
didn't dare to spend time thinking about *what* they threw in, but instead
|
|||
|
looked forward to the after-match shower. If there was ever going to be any.
|
|||
|
"Eh, Cronos!" someone cried.
|
|||
|
He looked at where the voice seemed to come from, only to receive a foul blow
|
|||
|
right in the face. He spitted out a tooth - one of the preciously few real
|
|||
|
ones he still had left.
|
|||
|
A huge bloke with a bloated face, a bloated body, bloated hands, yes, even a
|
|||
|
bloaetd mouth spoke to him, threateningly, "Eh, Cronos, sucker! Sissy! Get
|
|||
|
lost, wimp! This is a game for *men*, not for dodos!"
|
|||
|
"Count to ten," Cronos thought to himself, "or you will lose control over
|
|||
|
yourself."
|
|||
|
A fact of considerable disfortune to the bloated man was that Cronos could
|
|||
|
not restrain himself and instead separated the man's bloated head from the
|
|||
|
rest of his bloated body, deftly using his infamous Killer Finger Nail before
|
|||
|
he had even proceeded to counting to 10 to the power of -9.
|
|||
|
|
|||
|
The audience now came alive and was aroar with anticipation of what might
|
|||
|
happen now. Bashing was OK, shooting was permitted. But it was rather unheard
|
|||
|
of for virgin Ballistic rookies to go around killing seasoned veterans. The
|
|||
|
big metal ball that was supposed to be the centre of the game was pretty soon
|
|||
|
left in an unheeded Arena corner. Instead, all attention now seemed to
|
|||
|
concentrate on Cronos Warchild. All players were now grinding their teeth,
|
|||
|
looking pretty destructively. Cronos had obviously done something that they
|
|||
|
didn't like. Unaware of having done anything out of the ordinary, a fear
|
|||
|
struck him that he might have forgotten to use his breath spray this morning.
|
|||
|
It wasn't the only thing to strike him that evening.
|
|||
|
|
|||
|
More and more fellers now came near him, as well as some rather zealous
|
|||
|
members of the audience that had found ways to get into the playfield, eager
|
|||
|
for a thrill.
|
|||
|
Warchild didn't have much time to think (it's hard to think when someone is
|
|||
|
using your head to make a dent in a concrete floor), and before long at least
|
|||
|
twohundredandsixtyseven sturdy players and audience members were located
|
|||
|
around and on top of his torso. He was beginning to experience slight troubles
|
|||
|
breathing, and an old war injury in his left leg was also playing tricks on
|
|||
|
him again.
|
|||
|
"It's about time for some defensive transactions!" he murmured.
|
|||
|
He arose. He lethally injured at least two dozen men with assorted parts of
|
|||
|
his body. He yelled one of those ominous yells that you would only know if you
|
|||
|
had ever seen a triumphant Bugblatter Beast of Traal discovering (and
|
|||
|
devouring) your mother-in-law. He began to systematically kill every human
|
|||
|
being (and assorted other creatures) stacked atop him.
|
|||
|
Within seconds, he was covered by limbs, guts, glooloos (part of the
|
|||
|
metabolic system of a Klaxos Nine Great Bear), blood, pus, ripped-out
|
|||
|
entrails, torn-off bone tissue and tattered rags of skin, all logically
|
|||
|
intertwined in a giant, lustful orgy of anatomical anarchism, the visual
|
|||
|
equivalent of cacophony. His fists, fingernails, elbows, teeth and feet had
|
|||
|
already butchered an enormous number of creatures when the tide seemed to turn
|
|||
|
and they were about to get ther upper hand.
|
|||
|
Another Klaxos Nine Great Bear was gnawing fervently at his shin bone, a
|
|||
|
Home-Cultivated Mini Tyrannosaur was munching at his left upper arm and a
|
|||
|
player of Brainmanglers United was busy removing the upper part of his skull
|
|||
|
as a means to grab hold of Cronos' hypothalamus.
|
|||
|
Warchild was beginning to lose his mind, which might have had something to do
|
|||
|
with the aforementioned player of Brainmanglers United, for this person had
|
|||
|
indeed succeeded in lifting off part of the mercenary's cranium and was now
|
|||
|
ineptly fingering through some lesser brain coils.
|
|||
|
|
|||
|
AAAAAAARRRRGGGHHHH!!!!
|
|||
|
|
|||
|
Cronos looked around, frightened. After opening his eyes, he noticed that his
|
|||
|
bed was all torn apart and a nurse was lying in the corner, parts of her
|
|||
|
clothes torn as well.
|
|||
|
A doctor came rushing in, a hypodermic syringe filled with .44 gallons of
|
|||
|
thorazine in his hands. He turned around Warchild before the patient could do
|
|||
|
anything to prevent it, pulled down Cronos' pyjama pants and stuck it up
|
|||
|
some flesh at Warchild's rear end.
|
|||
|
|
|||
|
After Cronos lost consciousness, the doctor helped the shocked nurse to her
|
|||
|
feet again, gently stroking through her hair and whispering that it wasn't her
|
|||
|
fault. She couldn't do anything about the fact that she had to watch this
|
|||
|
utterly deranged lunatic from this pathetic little blue planet called earth.
|
|||
|
They left the room. On the backs of their coats, one could read in one of
|
|||
|
those letter types generally used only in horror film pamphlets: "Ambulor
|
|||
|
Eight Hospital for the Very Very Splattered".
|
|||
|
|
|||
|
Original written early 1989. Rehashed October 1993.
|
|||
|
|
|||
|
|
|||
|
= SOON COMING ================================================================
|
|||
|
|
|||
|
|
|||
|
The next issue of "Twilight Zone", Volume 2 Issue 1, is to be released mid
|
|||
|
January next year. Please refer to the 'subscription' section, below, for
|
|||
|
details about automatically getting it in case you're interested.
|
|||
|
Please refer to the section on 'submitting', below, for more detail on
|
|||
|
submitting your own material.
|
|||
|
The next issue will probably contain the following items.
|
|||
|
|
|||
|
THE FAIRY FELLOW'S MASTER STROKE
|
|||
|
|
|||
|
The third Tale from the Tavern at the Edge of Nowhere
|
|||
|
by Bryan H. Joyce
|
|||
|
|
|||
|
THE LAST NINJA
|
|||
|
|
|||
|
Whele Hang Foy Soozooki and his Loyal Selvant ale Intloduced
|
|||
|
by Lichald Kalsmakels
|
|||
|
|
|||
|
POPULOUS
|
|||
|
|
|||
|
Where Cronos Warchild joins Odd Folk
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
THE SCHOOL OF LIFE!
|
|||
|
|
|||
|
A story of Life, Love and Lots (more)
|
|||
|
by Kai Holst
|
|||
|
|
|||
|
RICK DANGEROUS II
|
|||
|
|
|||
|
Where Fate plays once more with Sir Richard 'Rick' Dangerous
|
|||
|
by Richard Karsmakers
|
|||
|
|
|||
|
AND MORE
|
|||
|
|
|||
|
|
|||
|
= SOME GENERAL REMARKS =======================================================
|
|||
|
|
|||
|
|
|||
|
DESCRIPTION
|
|||
|
|
|||
|
"Twilight Zone" is an all-format on-line magazine aimed at everybody who is
|
|||
|
interested in any sort of fiction - although it usually tends to concentrate
|
|||
|
on fantasy-and science-fiction.
|
|||
|
One of its sources is an Atari ST/TT/Falcon disk magazine by the name of "ST
|
|||
|
NEWS" which publishes computer-related articles as well as fiction. "Twilight
|
|||
|
Zone" principally consists of the best fiction featured in "ST NEWS" so far,
|
|||
|
with additions submitted by dedicated "Twilight Zone" readers.
|
|||
|
|
|||
|
AIM
|
|||
|
|
|||
|
It has no particular aim, but "Twilight Zone" would like to be a fresh breath
|
|||
|
to all you people out there that don't mind a magazine that tries not to
|
|||
|
conform to too many preset rules, which might indeed cause some of our stuff
|
|||
|
to be considered 'rude' or perhaps totally disgusting (or worse, plain
|
|||
|
boring).
|
|||
|
|
|||
|
SUBMITTING ARTICLES
|
|||
|
|
|||
|
If you've written some good fiction and you wouldn't mind it being published
|
|||
|
world-wide, you can mail it to me either electronically or by standard mail.
|
|||
|
At all times I reserve the right not to publish submissions. Do note that
|
|||
|
submissions on disk will have to use the MS-DOS/Atari ST/TT/Falcon disk format
|
|||
|
on 3.5" Double Density floppy disk. Provided sufficient IRCs are supplied (see
|
|||
|
below), you will get your disk back with the issue of "Twilight Zone" on it
|
|||
|
that features your fiction. Electronic submittees will automatically get an
|
|||
|
electronic subscription.
|
|||
|
At all times, please submit straight ASCII texts without any special control
|
|||
|
codes whatsoever, nor right justify or ASCII characters above 128. Please use
|
|||
|
*asterisks* to replace italics if needed.
|
|||
|
|
|||
|
COPYRIGHT
|
|||
|
|
|||
|
Unless specified along with the individual stories, all bits in "Twilight
|
|||
|
Zone" are copyrighted by the individual authors but may be spread wholly or
|
|||
|
separately to any place - and indeed into any other magazine - provided credit
|
|||
|
is given both to the original author and "Twilight Zone" and/or "ST NEWS".
|
|||
|
|
|||
|
CORRESPONDENCE ADDRESS
|
|||
|
|
|||
|
All correspondence and submissions should be sent to the address below. If
|
|||
|
you need a reply, supply one International Reply Coupon (available at your
|
|||
|
post office), or two if you live outside Europe. If you want your disk(s)
|
|||
|
returned, add 2 International Reply Coupons per disk (and one extra if you
|
|||
|
live outside Europe). Correspondence failing these guidelines will be read
|
|||
|
(and perused) but not replied to.
|
|||
|
The address (valid at least up to summer 1995):
|
|||
|
|
|||
|
Richard Karsmakers
|
|||
|
Looplantsoen 50
|
|||
|
NL-3523 GV Utrecht
|
|||
|
The Netherlands
|
|||
|
Email R.C.Karsmakers@stud.let.ruu.nl
|
|||
|
|
|||
|
SUBSCRIPTIONS
|
|||
|
|
|||
|
Subscriptions (only electronic subscriptions available!) can be requested by
|
|||
|
sending me some email (at the address mentioned above). "Twilight Zone" is
|
|||
|
only available in an ASCII version. Subscription terminations should also be
|
|||
|
directed to the mentioned email address.
|
|||
|
About one to two weeks prior to each current issue being sent out you will
|
|||
|
get a message to check if your email address is still valid. If not, your
|
|||
|
subscription is automatically terminated.
|
|||
|
Back issues of "Twilight Zone" may be FTP'd from atari.archive.umich.edu and
|
|||
|
etext.archive.umich.edu. It will also be posted to alt.zines, alt.prose and
|
|||
|
rec.arts.prose. Thanks to Gard for this!
|
|||
|
|
|||
|
PHILANTROPY
|
|||
|
|
|||
|
If you like "Twilight Zone", a spontaneous burst of philantropy aimed at the
|
|||
|
postal address mentioned above would be very much appreciated! Please send
|
|||
|
cash only; any regular currency will do. Apart from keeping "Twilight Zone"
|
|||
|
happily afloat, it will also help me to keep my head above water as a student
|
|||
|
of English at Utrecht University. If donations reach sufficient height they
|
|||
|
will secure the existence of "Twilight Zone" after my studies have been
|
|||
|
concluded.
|
|||
|
Thanks!
|
|||
|
|
|||
|
DISCLAIMER
|
|||
|
|
|||
|
All authors are responsible for the views they express. The individual
|
|||
|
authors are also the ones you should sue when copyright infringements have
|
|||
|
occurred!
|
|||
|
|
|||
|
ST NEWS
|
|||
|
|
|||
|
In case you have an Atari ST/TT/Falcon, you might check out "ST NEWS", the
|
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|
"Twilight Zone" mother magazine. The most recent issue can be obtained by
|
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|
sending one disk plus two International Reply Coupons (three if you live
|
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|
outside Europe) to the snailmail correspondence address mentioned above. "ST
|
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|
NEWS" will *not* be officially available electronically.
|
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|
"ST NEWS" should run on any TOS version, needs a double-sided disk drive and
|
|||
|
prefers at least 1 Mb of memory (though half a meg should be supported too).
|
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|
|
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|
OTHER ON-LINE MAGAZINES
|
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|
|
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|
INTERTEXT is an electronically-distributed fiction magazine which reaches
|
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|
over a thousand readers on five continents. It publishes fiction from all
|
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|
genres, from "mainstream" to Science Fiction, and everywhere in between.
|
|||
|
It is published in both ASCII and PostScript (laser printer) formats. To
|
|||
|
subscribe, send mail to jsnell@ocf.berkeley.edu. Back issues are available via
|
|||
|
anonymous FTP at network.ucsd.edu.
|
|||
|
|
|||
|
CYBERSPACE VANGUARD: News and Views of the SciFi and Fantasy Universe is an
|
|||
|
approximately bimonthly magazine of news, articles and interviews from science
|
|||
|
fiction, fantasy, comics, animation (you get the idea) genres. Subscriptions
|
|||
|
are available from cn577@cleveland.freenet.edu.
|
|||
|
Writers contact xx133@cleveland.freenet.edu. Back issues are availabe by FTP
|
|||
|
from etext.archive.umich.edu.
|
|||
|
|
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|
EOF
|
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|
|