Category: Book

The Cinema of My Dreams – It ended in Sorrento – Episode 59

Aftermath of a kidnapping

…

“You knew what was going to happen?”

“Of course.  Did you think you were dealing with rank amateurs?”

“Maybe my boss did.  Who are you two really?”

“We’re the sort of people who kill people like you, then go down the pub and have a few pints and laugh about it.”  It was almost a treat to see Cecelia acting so cavalier.

I glanced up at her, and her expression told me this was just another role, she was playing the bitch from hell.  And so much more dripping venom than Anna would ever muster.

That statement, of course, delivered in the deadpan voice of a deranged killer had the desired effect.  Francesca was suitably frightened.

“It was not my idea.  I just do as I’m told.”

“That’s what the Germans said at the Nuremberg trials.  Didn’t save them from being shot or hung or whatever.  Can I shoot her now?”  I almost laughed at the sincerity.

Francesca looked at me.  “You only told me because you knew what I’d do?  I told you who we were working for.”

“Who your boss told you to tell me.  Now we’re going to find out the truth.  I hope he told you the truth because if he didn’t, he isn’t going to be your boss for much longer.”

“Finally,” Cecelia sighed.

I almost laughed.  She was playing the role too well.

Alfie’s voice returned.  “What were you expecting?”

“Another party stepping in the rescue the countess.”

“How…”

“She can’t afford to have Anna find out who she really is.  Not yet.  Not until it is fait accompli.”

“When were you going to tell me?”

“At the appropriate time, which is now.  Let it go for now.  I know who’s got her.  And I know where she will go though not the exact location yet.  We have more work to do.”

“Who are you talking to?” Francesca asked.

“I have a plethora of friends Francesca, a plethora of friends.”

What happened next was like watching a bad stage play unfold in an unexpected manner.

Vittoria decided to turn up after the party had ended.

Seeing the door half open she blundered in and ended up with Cecelia’s gun in the back of her head, the door closing, and Francesca slowly getting back up off the floor.

Cecelia told Vittoria to walk slowly into the room and not try anything.  Vittoria was smart.  She did as she was told.

Francesca did the same.  She knew she had to humour me.  Then her phone rang.

“That will be your boss.  Answer it on speaker.”

She pulled it out of her bag and did as she was told.

“Sir.”

“What the hell is going on?”

I decided to answer that question for her.  “I might ask the same of you.  Had you just simply come and asked me, we could have sorted this out together, but no, you had to do it your way.  Now you have nothing.”

“Neither have you.”

“No.  What happened was exactly what I wanted to happen.  It gave me three valuable pieces of information.  Now you get nothing.  Go back to Rome and leave the professionals to get this done.  I am keeping Francesca with me.  She is the one concession I’m granting you.”

“That’s not how this works.”

“Then you will have to explain to her family how you got her killed because unless you agree, she will not leave this room alive.  Make up your mind.  My assistant has no patience and an itchy trigger finger.”

I counted to ten under my breath.  Francesca was getting more terrified by the minute.

“This is not acceptable, but I agree, only under extreme duress.  If anything happens to her, I will hold you personally responsible.”

“Agreed.  She will keep you posted.”

Francesca disconnected the call.

“It was a good job while it lasted,” she muttered.

“You’re a private detective and an art historian.  I’m not sure which day job you should not give up, but you can do better.  Now, enough retrospection.  We have work to do, and more feet on the ground.  Alfie, back to our hotel for a meeting.”

I heard him mutter, so I took that to mean he would be there soon.

In all the excitement I had forgotten about Juliet, and when I looked over to where she had been standing, near the countess before they took her, I saw her on the ground, just moving.

I went to her and knelt down to check on her head.

There was a bloody gash on the back of it, and it appeared one of the intruders had hit her.  Then I realised that I had seen her try to grab the countess back from one of the intruders and the other hit her with the butt of his gun.

She turned her head and looked at me with glassy eyes.  “What happened?”

“You tried to be brave, and as the saying goes, no good deed goes unpunished.”

“And a lot of good that did.  She’s not here.”  That was the result of her quick search.

“Never take on impossible odds.  Bad for your health.  Stay there and I’ll get a wet cloth.  You’re going to have a bad headache for a while.”

Vittoria had taken in the scene, seen her daughter, and yet it was me who got to her first to help.  It only reinforced my assumption about her.  No one could be that callous towards their daughter.

“Where’s the countess?” she asked, finally realising she was not there.

“Masked gunmen took her away,” I said.  “I believe they were taking her to Anna Von Burkehardt.  That’s going to be some reunion, don’t you think?”

The look on her face was priceless.

© Charles Heath 2023

The 2am Rant: Why is writing so hard

In just about every book about how to be a good writer, there seems to be a pile of problems that at some time in a writer’s life will need to be overcome.

Writer’s block

Don’t have it.  The ideas pour out of my head like water over a waterfall

Don’t use abstract descriptions in your writing

Damn, I do that all the time

But, back to writer’s block, is that where you write 37 chapters and there the story stops?

Oops.

Plan your book and have an outline so you can write it from start to finish

Plan?  What Plan?

That only happens when I’ve written the book and prior to the first edit, I make a precise of each chapter to make sure of continuity.

Plan your characters and give them a timeline

Oh God is that why characters’ names are often changing as the story progresses.

Believe it or not, I’m working on this issue.

Manage your time.

Still can’t get it right.

Write at least a thousand words a day, no matter if it’s rubbish or not.

Does that include writing for social media?

Apparently not.

At least this is one of the requirements I follow religiously. Sometimes it’s a lot more words but a least some writing finished up either on paper in on the word processor.

Now it’s time to write those thousand words.

Look, there, I’ve at least got one part of time management under control.

What I learned about writing – Is there a simple way to learn and write poetry?

Unleash Your Inner Poet: The Surprisingly Simple Path to Writing Poetry

For many, the word “poetry” conjures images of dusty tomes, cryptic verses, and the terrifying prospect of iambic pentameter. It feels like a secret club with an impossible initiation. But what if I told you that, at its heart, poetry is actually one of the most accessible and freeing forms of expression?

The question “Is there a simple way to learn and write poetry?” can be answered with a resounding yes. It’s not about memorising rules, it’s about re-learning how to see, feel, and play with words.

Here’s how to demystify the process and start your own poetic journey:

1. Ditch the “Rules” (For Now)

The biggest barrier to writing poetry is the self-imposed pressure to conform to traditional structures. Forget rhyme schemes, meter, and sonnet forms when you’re starting out. Think of them as advanced techniques you can explore later, if you choose.

Your focus should be on free verse. This is poetry without a strict rhythm or rhyme, allowing you to focus purely on imagery, emotion, and word choice. It’s the perfect playground for beginners.

2. Become a Keen Observer

Poetry is born from attention. The most powerful poems often come from everyday moments, seen through a fresh lens.

  • Engage your senses: What do you see, hear, smell, taste, touch right now?
  • Notice the details: Not just “a tree,” but “the ancient oak, its bark grooved like an old man’s face, leaves shivering in the morning breeze.”
  • Capture emotions: How does a situation make you feel? Don’t just name the emotion; describe its physical manifestation. (“My heart thrums like a trapped bird.”)
  • Carry a notebook (or use your phone): Jot down interesting words, phrases, snippets of conversation, or sensory observations as they strike you. These are your raw materials.

3. Read Poetry (But Don’t Feel Intimidated)

Reading poetry isn’t about understanding every single line or deciphering hidden meanings. It’s about hearing the music of language, seeing how others play with words, and discovering what resonates with you.

  • Start with contemporary poets: Many modern poems are more accessible and relatable than historical works.
  • Explore different styles: Read free verse, haikus, spoken word, lyrical pieces.
  • Read aloud: This helps you hear the rhythm and flow, even without rhyme.
  • Don’t force it: If a poem doesn’t click, move on. There’s so much out there!

4. Play with Words Like Building Blocks

Think of words as your paint, your clay, your musical notes.

  • Metaphor & Simile: How is one thing like another? (The moon is a fingernail clipping.) How is one thing another? (The moon is a pearl in the sky.)
  • Imagery: Use words that create vivid pictures in the reader’s mind.
  • Sound: Notice alliteration (slippery silver snakes), assonance (the mellow wedding bells), and how different sounds feel in your mouth.
  • Concision: Poetry often says a lot with a little. Can you trim unnecessary words?

5. Start Small and Simple

Don’t aim for an epic poem on your first try.

  • Try a Haiku: (5-7-5 syllables, usually about nature) – forces you to be concise.
  • Write about a single object: A forgotten coffee cup, a wilting flower, a dusty book.
  • Describe a single moment: The exact second the rain started, the taste of your morning coffee, the sound of a distant train.
  • Start with a strong image or feeling: Let that lead you.

6. Embrace the First Draft (It’s Supposed to Be Messy!)

Your first attempt won’t be perfect, and that’s okay. Think of it as a brain dump. Get all your ideas and feelings down on paper.

  • Don’t edit as you go: Just write.
  • Let it sit: Come back to it later with fresh eyes.
  • Revise: This is where the magic happens. Trim, expand, rearrange, swap words, sharpen images. Read it aloud to catch awkward phrasing.

7. Share (When You’re Ready)

Sharing your work, even with one trusted friend, can be incredibly empowering. It provides a new perspective and helps you grow. Join a local writing group, an online forum, or just read it to your cat!

Poetry isn’t about being “profound” or “intellectual” from the get-go. It’s about connecting with your own voice, observing the world with fresh eyes, and finding beauty in the ordinary. The simplest way to learn and write poetry is simply to begin. Pick up a pen, open a document, and let your words flow. The world is waiting for your unique song.

365 Days of writing, 2026 – 145

Day 145 – Writing isn’t work at all…

…

The Joy of the Page: Why Writing Shouldn’t Feel Like Labour

There is a famous, arguably infamous, sentiment from the poet and novelist Charles Bukowski that often sparks heated debate in writing workshops and literary circles alike:

“Writing isn’t work at all… and when people tell me how painful it is to write, I don’t understand it, because it’s just like rolling down the mountain, you know. It’s freeing. It’s enjoyable. It’s a gift and you get paid for what you want to do.”

If you’ve ever stared at a blinking cursor for three hours, wrestling with a single sentence until your temples throb, Bukowski’s words might sound like a personal insult. How can he call it “rolling down a mountain” when, for the rest of us, it feels more like pushing a boulder up it?

But perhaps it’s time to look past the provocation and see the truth hidden in his perspective.

The Difference Between “Writing” and “Editing”

The friction most writers feel isn’t usually with the act of writing itself—the creative flow, the discovery of a character’s voice, or the thrill of an idea taking shape. The pain comes from the internal critic.

When writers complain about the “pain” of writing, they are often conflating the act of creation with the act of judgment. We stop to edit, we second-guess our word choice, and we worry about the audience before the ink is even dry. Bukowski’s “rolling down the mountain” refers to the act of letting go—the pure, kinetic energy of getting the thought from the brain onto the page without stopping to check if it’s “good enough” yet.

The Gift of Expression

Bukowski’s reminder that writing is a “gift” is a powerful antidote to the burnout that comes with treating writing as a purely transactional industry.

In a world where we spend forty-plus hours a week doing things we have to do—answering emails, attending meetings, navigating logistics—writing is one of the few places where we have total agency. You are the architect, the god, and the witness of your own world. When you view writing as an escape rather than a chore, the “pain” begins to dissipate. You stop trying to force the narrative and start allowing it to move on its own.

How to Find Your Own “Mountain”

If you find yourself stuck in the “painful” phase of writing, it’s worth asking: Are you trying to roll, or are you trying to climb?

To recapture the joy Bukowski describes, try these three shifts:

  1. The “Vomit” Draft: Give yourself permission to write absolute garbage. If you don’t care about the quality of the first draft, you remove the pressure to be perfect. Suddenly, the words start flowing again.
  2. Separate the Hat: Keep the “Writer” and the “Editor” in different rooms. When you write, do not let your inner editor touch the keyboard. Save the critique for a later date.
  3. Find the “Want”: Bukowski mentions being “paid for what you want to do.” Even if you aren’t making a living yet, reconnect with the why. Write about the things that genuinely interest you. If you are writing what you think you should write, it will always feel like work. If you write what you need to write, it becomes a release.

Final Thoughts

Writing will always require discipline, and there are days when the muse is silent. But there is a distinct difference between the healthy exhaustion of a creative sprint and the agonising frustration of a writer at war with themselves.

The next time you sit down to write, don’t try to climb the mountain. Stop trying to control the terrain, stop checking your footing, and just let yourself go. You might be surprised at how much ground you cover when you finally stop fighting the descent.

…

“Sunday in New York”, a romantic adventure that’s not a walk in the park!

“Sunday in New York” is ultimately a story about trust, and what happens when a marriage is stretched to its limits.

When Harry Steele attends a lunch with his manager, Barclay, to discuss a promotion that any junior executive would accept in a heartbeat, it is the fact that his wife, Alison, who previously professed her reservations about Barclay, also agreed to attend that casts a small element of doubt in his mind.

From that moment, his life, in the company, in deciding what to do, his marriage, his very life, spirals out of control.

There is no one big factor that can prove Harry’s worst fears, that his marriage is over, just several small, interconnecting events, when piled on top of each other, point to a cataclysmic end to everything he had believed in.

Trust is lost firstly in his best friend and mentor, Andy, who only hints at impending disaster, Sasha, a woman whom he saved, and who appears to have motives of her own, and then in his wife, Alison, as he discovers piece by piece, damning evidence that she is about to leave him for another man.

Can we trust what we see with our eyes or trust what we hear?

Haven’t we all jumped to conclusions at least once in our lives?

Can Alison, a woman whose self-belief and confidence are about to be put to the ultimate test, find a way of proving their relationship is as strong as it has ever been?

As they say in the classics, read on!

…

Purchase:

http://tinyurl.com/Amazon-SundayInNewYork

“Echoes From The Past”, the past doesn’t necessarily stay there


What happens when your past finally catches up with you?

…

Christmas is just around the corner, a time to be with family. For Will Mason, an orphan since he was fourteen, it is a time for reflection on what his life could have been, and what it could be.

Until a chance encounter brings back to life the reasons for his twenty years of self-imposed exile from a life only normal people could have. From that moment, Will’s life slowly starts to unravel, and it’s obvious to him that it’s time to move on.

This time, however, there is more at stake.

Will has broken his number one rule: don’t get involved.

With his nemesis, Eddie Jamieson, suddenly within reach, and a blossoming relationship with an office colleague, Maria, about to change everything, Will has to make a choice. Quietly leave, or finally, make a stand.

But as Will soon discovers, when other people are involved, there are going to be terrible consequences no matter what choice he makes.

…

https://amzn.to/2CYKxu4

newechocover5rs

365 Days of writing, 2026 – 145

Day 145 – Writing isn’t work at all…

…

The Joy of the Page: Why Writing Shouldn’t Feel Like Labour

There is a famous, arguably infamous, sentiment from the poet and novelist Charles Bukowski that often sparks heated debate in writing workshops and literary circles alike:

“Writing isn’t work at all… and when people tell me how painful it is to write, I don’t understand it, because it’s just like rolling down the mountain, you know. It’s freeing. It’s enjoyable. It’s a gift and you get paid for what you want to do.”

If you’ve ever stared at a blinking cursor for three hours, wrestling with a single sentence until your temples throb, Bukowski’s words might sound like a personal insult. How can he call it “rolling down a mountain” when, for the rest of us, it feels more like pushing a boulder up it?

But perhaps it’s time to look past the provocation and see the truth hidden in his perspective.

The Difference Between “Writing” and “Editing”

The friction most writers feel isn’t usually with the act of writing itself—the creative flow, the discovery of a character’s voice, or the thrill of an idea taking shape. The pain comes from the internal critic.

When writers complain about the “pain” of writing, they are often conflating the act of creation with the act of judgment. We stop to edit, we second-guess our word choice, and we worry about the audience before the ink is even dry. Bukowski’s “rolling down the mountain” refers to the act of letting go—the pure, kinetic energy of getting the thought from the brain onto the page without stopping to check if it’s “good enough” yet.

The Gift of Expression

Bukowski’s reminder that writing is a “gift” is a powerful antidote to the burnout that comes with treating writing as a purely transactional industry.

In a world where we spend forty-plus hours a week doing things we have to do—answering emails, attending meetings, navigating logistics—writing is one of the few places where we have total agency. You are the architect, the god, and the witness of your own world. When you view writing as an escape rather than a chore, the “pain” begins to dissipate. You stop trying to force the narrative and start allowing it to move on its own.

How to Find Your Own “Mountain”

If you find yourself stuck in the “painful” phase of writing, it’s worth asking: Are you trying to roll, or are you trying to climb?

To recapture the joy Bukowski describes, try these three shifts:

  1. The “Vomit” Draft: Give yourself permission to write absolute garbage. If you don’t care about the quality of the first draft, you remove the pressure to be perfect. Suddenly, the words start flowing again.
  2. Separate the Hat: Keep the “Writer” and the “Editor” in different rooms. When you write, do not let your inner editor touch the keyboard. Save the critique for a later date.
  3. Find the “Want”: Bukowski mentions being “paid for what you want to do.” Even if you aren’t making a living yet, reconnect with the why. Write about the things that genuinely interest you. If you are writing what you think you should write, it will always feel like work. If you write what you need to write, it becomes a release.

Final Thoughts

Writing will always require discipline, and there are days when the muse is silent. But there is a distinct difference between the healthy exhaustion of a creative sprint and the agonising frustration of a writer at war with themselves.

The next time you sit down to write, don’t try to climb the mountain. Stop trying to control the terrain, stop checking your footing, and just let yourself go. You might be surprised at how much ground you cover when you finally stop fighting the descent.

…

‘What Sets Us Apart’ – A beta reader’s view

There’s something to be said for a story that starts like a James Bond movie, throwing you straight in the deep end, a perfect way of getting to know the main character, David, or is that Alistair?

A retired spy, well, not so much a spy as a retired errand boy, David’s rather wry description of his talents, and a woman that most men would give their left arm for, not exactly the ideal couple, but there is a spark in a meeting that may or may not have been a setup.

But as the story progressed, the question I kept asking myself was why he’d bother.

And, page after unrelenting page, you find out.

Susan is exactly the sort of woman to pique his interest.  Then, inexplicably, she disappears.  That might have been the end of it, but Prendergast, that shadowy enigma, David’s ex-boss who loves playing games with real people, gives him an ultimatum: find her or come back to work.

Nothing like an offer that’s a double-edged sword!

A dragon for a mother, a sister he didn’t know about, Susan’s BFF who is not what she seems or a friend indeed, and Susan’s father, who, up till David meets her, couldn’t be less interested, his nemesis proves to be the impossible dream, and he’s always just that one step behind.

When the rollercoaster finally came to a halt, and I could start breathing again, it was an ending that was completely unexpected.

I’ve been told there’s a sequel in the works.

Bring it on!

…

The book can be purchased here:  http://amzn.to/2Eryfth

…

The cinema of my dreams – I never wanted to go to Africa – Episode 36

Our hero knows he’s in serious trouble.

The problem is, there are familiar faces and a question of who is a friend and who is foe made all the more difficult because of the enemy, if it was the enemy, simply because it didn’t look or sound or act like the enemy.

Now, it appears, his problems stem from another operation he participated in, and because of it, he has now been roped into what might be called a suicide mission.

 

The next stretch of road was from Aba to Nagero, the gateway to the Garamba National Park.  This was a road where we would have to be more careful because it was possible, now we were off the main road, even though it was designated a highway, or perhaps that was a little too optimistic since it had a number N26, which ran into the R240 at a place nominally named Faradje, but did have a place to stay called the Residence Robert Ball.

I guess I missed that.

Beyond Faradje the road was a little more intense, but something else that worried me, there was more scope for us to be ambushed.  To be honest, I had expected trouble for the last 100 kilometers, but trucks and people were plentiful enough to keep any surprises away.  Now, that element of safety had gone and for quite some distance now we’d been moving slowly, and everyone was on alert.

My fears were not misplaced.

We’d hit a rather rough patch and had to slow down, and coming into a creek crossing the road narrowed, and the trees came down to the side of the road, providing any would-be attacker plenty of cover.  I had been considering how I would arrange an ambush when, suddenly the car in front stopped suddenly, and we, caught unawares, slid almost into the back of them.

My other radio crackled, Monroe was reporting in.  “Houston, we’ve got a problem.”

A flooded creek that was impassable, or a rockfall.  There had been one of each so far, but both had been relatively easy to negotiate.

Then she added, “A gentleman in army gear with a gun.  He’s brought a few friends to the party.”

“Real army, or…”

“The or, I think.  Some of his ‘men’ are, well, not men.”

A local militia.  Ahead I could see several more of the ‘soldiers’ filtering down to cover each of the vehicles until a real soldier stopped near ours, gun aimed and ready to fire.

“Send in our guide and get him to sort the matter out.”

No one was asking us to leave the vehicles yet, so this might but just a ‘request’ for a passing fee.  Jacobi had said this might happen once we left the mainstream roads.  I had hoped, the Garamba National Park is internationally known, all roads in and out would be ‘protected’.  Perhaps that was only for convoys protected by Government troops, a service we had to forego due to the nature of our business.

Five minutes passed, then the next update.

“Jacobi is going now.  We’ve finally got past any possible misunderstandings.  Good thing he knows the language.”

Mindful of where the soldier covering us was standing and his line of sight into the car, I said into the other radio, “Mobley?”

“Sir?”

“Where are you?”

“About a k behind you.”

“Stop.  Park, and approach on foot.  We have a small problem, about 10 militiamen have stopped us at a choke point.”

“Done.  I will be there shortly.  Take them out?”

“Get a position and standby.”

Forward of us little was happening.  I could now see Jacobi and the group commander standing to one side of the lead vehicle, talking.  Jacobi was gesturing, and the soldier was looking defensive.

Seconds dragged by like they were minutes.

Davies came back to life.  “Why have we stopped?”

“Checkpoint.”

“There isn’t meant to be a checkpoint here, is there?”

“No.”

Before we started out Davies had hidden a sidearm under her seat, in a place where I had hoped would not be checked by the border officials.  They had made a cursory scan in the front of the car but hadn’t seen it.  Now she had reached down and had it in her hand, at the same time making sure she had eye contact with the militiaman on her side of our car.

Our personal detail had doubled in the last minute or so.  I had just watched Jacobi return to the lead vehicle, get in, but leave the door open.

The radio crackled again.  “They want five thousand US dollars, and we can proceed.”

“We got five thousand.”

“Jacobi says two should do it.”

“Give it a go.”

I watched and waited as it took a few more minutes before Jacobi, with a bulky envelope, got out of the car and walked towards the soldier.

Showing we had money and were willing to hand it over might lead to further demands, particularly if the soldier though he was being disrespected.  It all depended on Jacobi’s negotiating skills.

Mobley reported in.  He had a position where he could see the men at the head of the convoy.

I spoke into the radio to the others, “Has everyone got a clear shot on their covering guards, just in case this goes sideways.”

“They’re not exactly soldiers,” I heard Barnes say.

“But they’ll shoot to kill you all the same.  Unfortunately, we’re on a mission-critical timeline here, and whilst I don’t like it, it’s going to be one of those at all costs decisions.”

A series of ‘ready’ came over the radio.

Several more minutes passed, and more animated conversation between Jacobi and the commander, then Jacobi returned to the car, minus the envelope.

Was it successful?

Monroe.  “Seems he wants ten thousand now.  Orders?”

“Negotiations are over.”

Several shots rang our, taking down the three men at the front of the convoy in quick succession, the signal for the others to take out their guards almost simultaneously.  It was a miracle none of the guards got a shot off, but, then, they were standing a little too close for their own good.


Five minutes later we were back on the road, the militiamen having their arms removed, and removed from sight, just in case anyone came looking for them.  It might be a forward group from the kidnappers, looking for some extra cash, or, if the negotiations had dragged on, looking to take the ransom and then demand another when we turned up empty-handed.

Whatever had happened, it was over.

Ten minutes later Mobley had re-joined the convoy behind me.

 

© Charles Heath 2019-2020

The cinema of My Dreams – It ended in Sorrento – Episode 58

It goes exactly as planned

…

We were monitored from the moment we left the hotel.  Cecelia had taken up her vantage point, and watched as we came out the front door.  Two minutes later she said, quietly, “You’ve got two, man and woman.  The woman is in communication with someone.  Be careful.”

Francesca didn’t seem to have a care in the world.  I suspected she had her phone on so those following us could keep track of when they lost us, but I wouldn’t be dodging and weaving this morning.

“What do you think our chances are of getting snatched off the street in a white van,” I asked her, after about 10 minutes.

“Why?”

“I’ve seen a few.  Of course, they might just be delivery vans, and white is a common colour.  Perhaps I’m just being paranoid.”

“Perhaps you are.”  She gave me a curious look, enough to make me think she might think there might be trouble.

“What happened to Cecelia?”

Juliet was outside the hotel, coming back from a café not far up the road.  I noted she had not bought coffee for the other two women.

“Out on a run.  She’s one of these fitness freaks, or perhaps it has something to do with keeping in shape for the movies.”

Juliet looked Francesca up and down with the eye of a jealous woman, or so I wanted to believe.  It could be that she simply viewed her with suspicion, much the same as I would in her place.

She knew me well enough to know Francesca was not there simply as a visiting friend.  But just how curious would she be.

“Another actress friend of yours?”

Francesca views Juliet with a similar look of contempt.

Francesca looked at me.  “Who is this woman and what is she talking about.  You obviously know each other.”

“Is it that recognisable?  This is Juliet, and ye, far back in a long-forgotten past we did spend some time together.  And lately, for some strange reason, we keep running into each other. Other than that, she’s staying with the countess and her mother.”

“You brought her to see the countess?   Is that wise?”

“No.  But I’ve had a long talk to Francesca, that’s her name by the way, and she’s working with people who have the same goal as I have, protecting the countess and making sure she gets to the signing.”

“Who are her people?”

“Need to know Juliet.”

“Well, this is going to be a cat amongst the pigeon’s moment, Evan.  You’re up to something, I know it.”

Francesca looked at her, then me, and went to say something, then didn’t.  I wished, at that moment, that I could read minds.

In my ear, I could hear Cecelia.  “They’ve stopped at the café just up from the hotel and the woman is talking earnestly into the phone.  She is probably calling for reinforcements.”

“A white van, no doubt,” I said.

Francesca was beside me.  “What about a white van?  Did you see one?”

“No.  Just muttering to myself.”

Juliet went first as we went into the hotel, over to the elevator, and then up to the room floor.  The short distance to the room was slow, running into several other guests who were going down to the lobby.

Juliet was on first-name terms with them.

Cecelia was back.  “As you said.  A white van went down the alley to the back of the hotel.  The two are staying put at the café.  It’s either a delivery or your ride.  What do you want me to do?”

“Nothing.”  Alfie’s voice came on.

“What are you doing here?”

“Joining the party.  Leave the van to me.  If it is involved, we’ll be on it.  If they take any one of the three, and they take their phones, we’ll have a trace.  At any rate, I’ve got a car, and will follow the van, if necessary.”

“Ever been told about a party, and then not get an invite,” I asked no one in general.

Juliet gave me a strange look then unlocked the door, went in, I followed, and Francesca came in last and closed the door behind her.

The countess was sitting at the table and looked up.  She didn’t recognise Francesca or if she did, she was a good actress.

“Who is this?” she asked.

“A woman who claims she has been hired to protect you too.  There seems to be a few of us.”

“Protect or kill?”  She stood and backed away.  “Why did you bring her here?”

“The old adage, keep your friends close, and your enemies closer.  She’s better here than out there,” I waved my hand in the general direction of the street.

Francesca didn’t move, and, better still, didn’t produce a gun from her handbag.

“Who do you work for?” the countess asked.

“Anna von Burkehardt.  She is very keen for you to make it to the signing alive.  She also told us that she would like to have a chat about what you’re going to be doing with the property once the documents are signed.  She would like to make you an offer.  One, I believe, you can’t refuse.”

It sounded reasonable to me.  What wasn’t was that she hadn’t moved from the door.  That was a bad sign.

Cecelia again.  “I’m on the floor, three hostiles heading to your door.  Do you want me to stop them?”

“No.”

Francesca looked at me.  “What do you mean no?”

“No, she can’t refuse it, like you said.”

The countess didn’t look particularly impressed with either of us.  “That hag has no interest in making any offers other than putting a bullet in the back of my head.  Take her away, Evan.  She had no interest in protecting me.  And, because of your incompetence, now Anna knows where I am.

I saw Francesca turn the handle of the door and quickly step to one side as it burst open.  Standing on the side expecting such an entry, I saw the men come in weapons in hand, yelling for us to get on the floor.

Cecelia was in my ear again.  “What do you want me to do?”

“Wait.  But be ready.”

In the confusion, Francesca was too busy acting the part of a hostage, with adequate parts of fear and cringing on the floor.

One of the men pointed his gun at me.  I was not the target.

I just realised that Vittoria was not in the room, so she was outside.

“Watch out for Vittoria,” I said.

Teo men grabbed the countess and gagged her.  The one pointing the gun at me went back to the door and looked out.  He waved his gun to say the coast is clear, and they quickly went out.

“Let them go.  Alf, you better not lose them.”

“I won’t.”

Three minutes and it was over. 

I got up and sat against the wall, and watched Francesca slowly raise her head and look around.

When her eyes reached me, she didn’t see my angry face looking at her, she saw a silenced gun pointed at her head.

“What the hell…”

The door opened again, and Cecelia came in, gun aimed, ready to shoot anything that moved.  It too, ended up on Francesca.

“One chance.  The next thing you tell me better be the truth or I will shoot you dead where you lie.  Am I clear?”

© Charles Heath 2023