An excerpt from “What Sets Us Apart”, a mystery with a twist

See the excerpt from the story below, just a taste of what’s in store…

http://amzn.to/2Eryfth

whatsetscover

McCallister was old school, a man who would most likely fit in perfectly campaigning on the battlefields of Europe during the Second World War. He’d been like a fish out of water in the army, post-Falklands, and while he retired a hero, he still felt he’d more to give.

He’d applied and was accepted as head of a SWAT team, and, watching him now as he and his men disembarked from the truck in almost military precision, a look passed between Annette, the police liaison officer, and I that said she’d seen it all before. I know I had.

There was a one in four chance his team would be selected for this operation, and she had been hoping it would be one of the other three. While waiting for them to arrive she filled me in on the various teams. His was the least co-operative, and the more likely to make ad-hoc decisions rather than adhere to the plan, or any orders that may come from the officer in charge.

This, she said quite bluntly, was going to end badly.

I still had no idea why Prendergast instructed me to attend the scene of what looked to be a normal domestic operation, but as the nominated expert in the field in these types of situations, it was fairly clear he wasn’t taking any chances. It was always a matter of opinion between us, and generally I lost.

In this case, it was an anonymous report identifying what the authorities believed were explosives in one of the dockside sheds where explosives were not supposed to be.

The only reason why the report was given any credence was the man, while not identifying himself by name, said he’d been an explosive expert once and recognized the boxes. That could mean anything, but the Chief Constable was a cautious man.

With his men settled and preparing their weapons, McCallister came over to the command post, not much more than the SUV my liaison and I arrived in, with weapons, bulletproof vests, and rolls of tape to cordon off the area afterward. We both had coffee, steaming in the cold early morning air. Dawn was slowly approaching and although rain had been forecast it had yet to arrive.

A man by the name of Benson was in charge. He too had groaned when he saw McCallister.

“A fine morning for it.” McCallister was the only enthusiastic one here.

He didn’t say what ‘it’ was, but I thought it might eventually be mayhem.

“Let’s hope the rain stays away. It’s going to be difficult enough without it,” Benson said, rubbing his hands together. We had been waiting for the SWAT team to arrive, and another team to take up their position under the wharf, and who was in the final stages of securing their position.

While we were waiting we drew up the plan. I’d go in first to check on what we were dealing with, and what type of explosives. The SWAT team, in the meantime, were to ensure all the exits to the shed were covered. When I gave the signal, they were to enter and secure the building. We were not expecting anyone inside or out, and no movement had been detected in the last hour since our arrival and deployment.

“What’s the current situation?”

“I’ve got eyes on the building, and a team coming in from the waterside, underneath. Its slow progress, but they’re nearly there. Once they’re in place, we’re sending McKenzie in.”

He looked in my direction.

“With due respect sir, shouldn’t it be one of us?” McCallister glared at me with the contempt that only a decorated military officer could.

“No. I have orders from above, much higher than I care to argue with, so, McCallister, no gung-ho heroics for the moment. Just be ready to move on my command, and make sure you have three teams at the exit points, ready to secure the building.”

McCallister opened his mouth, no doubt to question those orders, but instead closed it again. “Yes sir,” he muttered and turned away heading back to his men.

“You’re not going to have much time before he storms the battlements,” Benson quietly said to me, a hint of exasperation in his tone. “I’m dreading the paperwork.”

It was exactly what my liaison officer said when she saw McCallister arriving.

The water team sent their ‘in position’ signal, and we were ready to go.

In the hour or so we’d been on site nothing had stirred, no arrivals, no departures, and no sign anyone was inside, but that didn’t mean we were alone. Nor did it mean I was going to walk in and see immediately what was going on. If it was a cache of explosives then it was possible the building was booby-trapped in any number of ways, there could be sentries or guards, and they had eyes on us, or it might be a false alarm.

I was hoping for the latter.

I put on the bulletproof vest, thinking it was a poor substitute for full battle armor against an exploding bomb, but we were still treating this as a ‘suspected’ case. I noticed my liaison officer was pulling on her bulletproof vest too.

“You don’t have to go. This is my party, not yours,” I said.

“The Chief Constable told me to stick to you like glue, sir.”

I looked at Benson. “Talk some sense into her please, this is not a kindergarten outing.”

He shrugged. Seeing McCallister had taken all the fight out of him. “Orders are orders. If that’s what the Chief Constable requested …”

Madness. I glared at her, and she gave me a wan smile. “Stay behind me then, and don’t do anything stupid.”

“Believe me, I won’t be.” She pulled out and checked her weapon, chambering the first round. It made a reassuring sound.

Suited up, weapons readied, a last sip of the coffee in a stomach that was already churning from nerves and tension, I looked at the target, one hundred yards distant and thought it was going to be the longest hundred yards I’d ever traversed. At least for this week.

A swirling mist rolled in and caused a slight change in plans.

Because the front of the buildings was constantly illuminated by large overhead arc lamps, my intention had been to approach the building from the rear where there was less light and more cover. Despite the lack of movement, if there were explosives in that building, there’d be ‘enemy’ surveillance somewhere, and, after making that assumption, I believed it was going to be easier and less noticeable to use the darkness as a cover.

It was a result of the consultation, and studying the plans of the warehouse, plans that showed three entrances, the main front hangar type doors, a side entrance for truck entry and exit and a small door in the rear, at the end of an internal passage leading to several offices. I also assumed it was the exit used when smokers needed a break. Our entry would be by the rear door or failing that, the side entrance where a door was built into the larger sliding doors. In both cases, the locks would not present a problem.

The change in the weather made the approach shorter, and given the density of the mist now turning into a fog, we were able to approach by the front, hugging the walls, and moving quickly while there was cover. I could feel the dampness of the mist and shivered more than once.

It was nerves more than the cold.

I could also feel rather than see the presence of Annette behind me, and once felt her breath on my neck when we stopped for a quick reconnaissance.

It was the same for McCallister’s men. I could feel them following us, quickly and quietly, and expected, if I turned around, to see him breathing down my neck too.

It added to the tension.

My plan was still to enter by the back door.

We slipped up the alley between the two sheds to the rear corner and stopped. I heard a noise coming from the rear of the building, and the light tap on the shoulder told me Annette had heard it too. I put my hand up to signal her to wait, and as a swirl of mist rolled in, I slipped around the corner heading towards where I’d last seen the glow of a cigarette.

The mist cleared, and we saw each other at the same time. He was a bearded man in battle fatigues, not the average dockside security guard.

He was quick, but my slight element of surprise was his undoing, and he was down and unconscious in less than a few seconds with barely a sound beyond the body hitting the ground. Zip ties secured his hands and legs, and tape his mouth. Annette joined me a minute after securing him.

A glance at the body then me, “I can see why they, whoever they are, sent you.”

She’d asked who I worked for, and I didn’t answer. It was best she didn’t know.

“Stay behind me,” I said, more urgency in my tone. If there was one, there’d be another.

Luck was with us so far. A man outside smoking meant no booby traps on the back door, and quite possibly there’d be none inside. But it indicated there were more men inside, and if so, it appeared they were very well trained. If that were the case, they would be formidable opponents.

The fear factor increased exponentially.

I slowly opened the door and looked in. A pale light shone from within the warehouse itself, one that was not bright enough to be detected from outside. None of the offices had lights on, so it was possible they were vacant. I realized then they had blacked out the windows. Why hadn’t someone checked this?

Once inside, the door closed behind us, progress was slow and careful. She remained directly behind me, gun ready to shoot anything that moved. I had a momentary thought for McCallister and his men, securing the perimeter.

At the end of the corridor, the extent of the warehouse stretched before us. The pale lighting made it seem like a vast empty cavern, except for a long trestle table along one side, and, behind it, stacks of wooden crates, some opened. It looked like a production line.

To get to the table from where we were was a ten-yard walk in the open. There was no cover. If we stuck to the walls, there was equally no cover and a longer walk.

We needed a distraction.

As if on cue, the two main entrances disintegrated into flying shrapnel accompanied by a deafening explosion that momentarily disoriented both Annette and I. Through the smoke and dust kicked up I saw three men appear from behind the wooden crates, each with what looked like machine guns, spraying bullets in the direction of the incoming SWAT members.

They never had a chance, cut down before they made ten steps into the building.

By the time I’d recovered, my head heavy, eyes watering and ears still ringing, I took several steps towards them, managing to take down two of the gunmen but not the third.

I heard a voice, Annette’s I think, yell out, “Oh, God, he’s got a trigger,” just before another explosion, though all I remember in that split second was a bright flash, the intense heat, something very heavy smashing into my chest knocking the wind out of me, and then the sensation of flying, just before I hit the wall.

I spent four weeks in an induced coma, three months being stitched back together and another six learning to do all those basic actions everyone took for granted. It was twelve months almost to the day when I was released from the hospital, physically, except for a few alterations required after being hit by shrapnel, looking the same as I always had.

But mentally? The document I’d signed on release said it all, ‘not fit for active duty; discharged’.

It was in the name of David Cheney. For all intents and purposes, Alistair McKenzie was killed in that warehouse, and for the first time ever, an agent left the Department, the first to retire alive.

I was not sure I liked the idea of making history.

© Charles Heath 2016-2020

The cinema of my dreams – It ended in Sorrento – Episode 54

Anna’s arch-enemy

I was woken to a bunch of messages arriving on my phone just after the time I’d designated as ‘switch on’.  I had only recently realised the phone had a ‘sleep’ function.

Among the messages was one that said he had arranged for the will matters to be finalised in a week’s time, and that he had organised a stay of proceedings based on what appeared to be legal mumbo jumbo.

It doesn’t matter.  It was the week I needed.

I didn’t have to wake Cecelia; she was an early riser and an exercise freak.  She’d already been out and back, showered and dressed and was ready.

“You have an assignment.”

“From all that stuff we got.  It looked like we needed a lawyer to decipher it.”

“It’s simply given us a week to close this case.  I want you to go to the main Dicostini resident and stake it out.  I suspect you might see some familiar faces before the morning’s out.”

“What are you going to do.”

“Break the news to our three charges, if they’re still there.”

“And you think…”

“We’ll soon find out.”

“Can I take the sniper rifle?”

“Have you got one?”

She just gave me one of those condescending looks of hers.

“Yes.”

“Good.  There might be some prospective big game hunting.”

I showered and dressed and headed over to the hotel where, hopefully, the three women were still waiting.  I guess the fact they might be still in someone’s crosshairs might be incentive enough to sit still.

For them, it was only another day.  I wondered what they were going to sat when I told them it had been put back a week.

When I arrived, they were cooking breakfast, and it appeared they were all good friends, almost as if they were on holiday together.  None seemed to look like they were going out for the day, though Juliet had dressed, so perhaps she was the one going out for supplies.

She was sitting at the table nursing a mug of coffee.  It smelled better than the one I made from the hotel minibar, and I was still slightly annoyed I hadn’t got down to the hotel breakfast room.

“One day to go,” the countess said.

I wondered, in that moment, just who she really was.  To look like the countess, enough to fool the Burkehardt’s she could not be one of the Dicostini family.  Dicostini had gone to a lot of trouble to make this work, including kidnapping and attempted murder.

If he was the one behind the deception.

“That’s what I came to discuss.  There are some legal issues to be ironed out and the signing will not happen for another week.”

The countess looked annoyed.  “Those Burkehardt’s are up to something, trying to find a way around it.  We can’t let that happen.”

“And we won’t.  I’ve alerted your solicitor, and he assures me that he’s on the case, and will be calling on Anna tomorrow.  I saw her yesterday, and whilst she would rather it didn’t happen, she recognises that in the absence of a will, the state determines your claim.  I presume that you searched for a will and couldn’t find one?”

Or more to the point, she had not been there to search for anything, but the real countess had.  What would she have done?  It was a question I’d asked when we finally met.

“Benito?”

“The one and same.  We met, and he seems to me to be quite stodgy.  I can tell him, if I see him, you’re here.”

“No.  I don’t quite trust him, simply because he once worked for the Burkehardt’s and may still have some allegiance towards them.  I’d rather he not know where I am.”

“As you wish.”

I would have thought she if she was the real countess, would want to see him.  Another nail in her coffin.

Juliet handed me a mug, and it had a nice aroma about it.  Our hands touched, and there was a tingle.  Damn her.  Despite everything, she was still in my thoughts, and that was not good.

Especially if I had to shoot her.

I sat next to her at the table.  The others kept cooking breakfast.

“What are you doing with yourself?  I bet that Cecelia type is keeping you amused.”

“She is a colleague.  If I want anything to keep me amused, it’s working out why you are here, and there, and everywhere I go.”

She smiled.  “Serendipity.”

“Or a curse.

“Perhaps it’s fate trying to bring us back together?”

“Why?”

It had been a mismatch and ill-fated relationship the first time around, perhaps one of those things a patient has for their doctor.  She was there, she treated me nicely, and she needed someone to pour out her troubles to.  We mutually kept each other sane.  I was disappointed when I discovered she had gone off the deep end.

But, as Rodby said in his usual pragmatic way, shit happens.

But, the question loitering in the back of my mind was how she could find me when I was so deeply buried in a new persona in a place where no one could possibly find me.

Venice.

“Why are you here?”

“To tell you about the legal proceedings.”

“You could have called.”

“And you should be working for us.  A third degree if I’m not mistaken.”  She was not a fool.  A distracting answer was needed fast.  “I hate to admit this but I was thinking about you last night, and I got it in my head that I had to see you.”  I shrugged.  “Now I have.”

It seemed to assuage her curiosity.  “What’s going to happen after this is over?”

“You’ll get to live happily ever after with your mother.  It had to be what you call serendipity to be reunited with her after all these years?”

“You might think so.”

“You don’t.”

“There’s a reason why she left me behind.  I doubt a leopard is going to change it’s spots.  Once she gets her money she’s gone.”

“What money?”

“On one hand, if she had to verify the countess’s identity, on the other, putting me in the frame as an heir.  I don’t want it, but it is worth quite a lot, and she says I can just sell it and both of us could have the life we were meant to have.”

“You believe her?”

“Everybody in my life has screwed me over, Evan?  What do you think?”

“I think, if you’re rich, I could come and live with you.  That Burkehardt residence is something else, and, it has servants.”  I stood.  “Just a thought.”

I’m not sure what she made of that, but it certainly wasn’t what she was expecting.

© Charles Heath 2023

The 2am Rant: Have you ever been sidetracked

Started to write a post, got so far, and another theme or idea slips in, and demands to be written first?

I’m on this nostalgia kick simply because when I turned on the TV to catch up with the latest news, it was on a channel that shows old movies.

In case you don’t realise it, I love old movies, not just those from Hollywood, but also from Britain.

What was on?

An American in Paris.

Well, it had to be one of my favourites, even though I’m not a great fan of Gene Kelly; the sheer majesty of the music more than makes up for the story in between.

Could it be said, then, that this was from the golden years of Hollywood? Such bright and cheerful movies as Singing in the Rain and An American in Paris perhaps exemplify the Hollywood musical.

Years before, Fred Astaire and Ginger Rogers were the quintessential musical stars, followed by the likes of Judy Garland and Deanna Durbin, and later Bing Crosby and Frank Sinatra. A couple of musicals, in particular, come to mind, firstly, The Wizard of Oz and then High Society.

Moving into more modern times, several stand out in the 1960s: My Fair Lady and The Sound of Music. By this time, theatregoers were dining on the superb talents of Rogers and Hammerstein, and Learner and Lowe. Of the former, musicals such as Carousel, South Pacific, and The King and I were on my list of favourites.

Even later still in the 1970s, there is Funny Girl, and Hello Dolly, which have a connection to the past with its director, none other than, yes, Gene Kelly.

But it seems once the 60s had passed, the notion of the Hollywood blockbuster musical had gone, and we were left with clip shows like That’s Entertainment, put together while Gene Kelly and Fred Astaire were still alive. We still had the film versions of the stage plays, but the lustre had, somehow, gone.

Perhaps it will return, who knows, after all, everything old is usually new again, it just takes time to go full circle.

What I learned about writing – First lines must make an impact

The Art of the Opening Line: Impact, Promise, and the Perfect Sentence

In the sprawling landscape of literature, where countless stories vie for attention and untold universes beckon, there’s a single, vital pivot point: the first line. It’s more than just a gentle nudge; it’s a carefully constructed piece of prose, a declaration, a whisper, or a shout that sets everything in motion. And if you’re a writer, or simply a discerning reader, you know this truth deep in your bones: the first line has to make an impact.

The immediate, undeniable truth is this: a first line must make an impact. In a world saturated with content, where endless scrolls and countless tabs compete for precious moments, your opening sentence is your do-or-die moment. It isn’t merely about grabbing attention; it’s about demanding it. It might shock, mystify, intrigue, or present a profound truth that resonates instantly. Think of “It was the best of times, it was the worst of times,” or “Call me Ishmael.” These aren’t just words; they’re literary thunderclaps, perfectly thrown darts hitting the bullseye of the reader’s curiosity. They don’t just invite you in; they pull you in, often before you even realise you’ve been hooked.

But impact alone, while crucial, is only half the story. While the subsequent chapters unfurl the full tapestry of your narrative, why wait? Why not offer a tantalising glimpse, a foundational understanding of what awaits, right from the start? A well-crafted first line or paragraph subtly hints at the genre, the tone, the central conflict, or even the protagonist’s core dilemma. It’s a non-verbal contract with your reader, a promise of the journey to come. It says, “This is what you’re in for. This is the kind of world you’re about to enter.” It might promise wonder, dread, humour, or profound introspection. Even if the full qualification of these hints comes much later, the initial setup creates an expectation, a framework that encourages the reader to lean in and commit.

Which brings us to the bedrock of all this: the art of the sentence itself. The first line isn’t just a container for ideas; it is an idea, perfectly formed. It’s about meticulous word choice, the rhythm and cadence, the conciseness that packs a punch, and the elegance that makes it linger in the mind. Every word must earn its place, and every punctuation mark serves a purpose. This isn’t just about conveying information; it’s about crafting an experience. When we talk about the “art of the first line,” we are, in essence, talking about the art of the sentence – its power to evoke, to define, to resonate, and to stand as a miniature masterpiece in its own right. It elevates prose from mere communication to an experience.

So, when you sit down to craft your opening, whether you’re a seasoned novelist or a budding blogger, remember it’s not just a starting point; it’s a destination in itself. It’s the initial impact that makes a reader pause, the subtle promise that makes them stay, and the sheer artistry of the sentence that makes them marvel. Invest in your first line. Polish it, perfect it, and let it sing. For in that one perfect sentence lies the entire universe of your story, waiting to unfold.

365 Days of writing, 2026 – 140

Day 140 – Writing longhand rather than digitally

The Case for the Page: Why Your Next First Draft Should Be Handwritten

In an era of lightning-fast keyboards, voice-to-text, and AI-assisted drafting, the act of putting pen to paper can feel almost prehistoric. Why reach for a pen when you can type at 80 words per minute? Why endure the hand cramp when you can edit with a simple backspace?

Yet, there is a growing movement of writers—from novelists to essayists—who are returning to the humble notebook for their first drafts. Beyond the aesthetic appeal of a leather-bound journal or the scratch of a fountain pen, there is a profound, functional benefit to writing in longhand.

If you’ve been feeling disconnected from your writing, here is why you might want to slow it down and go analog.

1. A Tangible Record of Your Evolution

When you write digitally, the “delete” key is a magician. You type a sentence, realise it’s weak, hit backspace, and it vanishes into the ether. It is as if the thought never existed.

In longhand, you cannot truly erase. You can only cross out.

This creates a tangible map of your creative process. When you look back at a physical page, you see the evolution of your ideas. You see the discarded phrases, the scribbled synonyms in the margins, and the sudden arrows pointing to a better arrangement. This “messy” draft becomes a record of your intellectual labor. It proves you didn’t just arrive at the finished product; you fought for it. There is a deep, psychological satisfaction in seeing that history remain on the page, rather than in a digital void.

2. The Permanence of Thought

Digital writing is ephemeral. Even with “Track Changes” or version history, the digital experience is defined by constant editing. We are trained to polish as we go, which stifles the raw, uninhibited flow of a first draft.

Longhand forces a slower pace, but it also provides a sense of finality. Once the ink touches the paper, the thought is “baked.” This forces you to be more deliberate with your word choices, yet paradoxically, it also allows you to make mistakes without the pressure to correct them immediately. Because you can’t easily “clean up” a handwritten draft, you are forced to keep moving forward, which is the golden rule of drafting: don’t look back until the page is full.

3. A Deeper Cognitive Connection

Neuroscience suggests that the brain processes information differently when we engage in handwriting. The physical act of forming letters and the tactile sensation of pen on paper activate different areas of the brain than typing does.

Many writers report that longhand helps them enter a “flow state” more easily. There are no notifications popping up in the corner of your notebook. No temptation to check email. No ability to reformat your font or check the word count every five minutes. It is just you and the paper, creating an environment where deep focus is the default, not the exception.

4. The Beauty of the “Permanent Erasure”

There is a unique kind of vulnerability in handwriting. Because you cannot delete, you learn to embrace the imperfection. You stop obsessing over the perfect opening sentence and start focusing on the truth of the sentence.

When you do eventually transcribe your handwritten draft into a digital format, you are essentially performing your first major edit. You aren’t just copying; you’re reading, refining, and selecting the best parts of what you wrote. It turns the editing process into a deliberate, second-pass creative act rather than a chore.

The Verdict?

Writing in longhand isn’t about being a Luddite. It’s about recognising that the “best” tools for efficiency aren’t always the “best” tools for creativity.

If your writing feels stagnant or you find yourself endlessly editing instead of creating, put the laptop away. Grab a pen. Feel the weight of the ink on the page. You might find that the best way to move your writing forward is to take a step back into the past.

Have you ever tried handwriting your first draft? Do you find it helps you unlock new ideas, or does it feel like extra work? Let me know in the comments below.

An excerpt from “The Things We Do for Love”; In love, Henry was all at sea!

In the distance, he could hear the dinner bell ringing and roused himself.  Feeling the dampness of the pillow and fearing the ravages of pent-up emotion, he considered not going down but thought it best not to upset Mrs Mac, especially after he said he would be dining.

In the event, he wished he had reneged, especially when he discovered he was not the only guest staying at the hotel.

Whilst he’d been reminiscing, another guest, a young lady, had arrived.  He’d heard her and Mrs Mac coming up the stairs and then shown to a room on the same floor, perhaps at the other end of the passage.

Henry caught his first glimpse of her when she appeared at the door to the dining room, waiting for Mrs Mac to show her to a table.

She was in her mid-twenties, slim, with long brown hair, and the grace and elegance of a woman associated with countless fashion magazines.  She was, he thought, stunningly beautiful with not a hair out of place, and make-up flawlessly applied.  Her clothes were black, simple, elegant, and expensive, the sort an heiress or wife of a millionaire might condescend to wear to a lesser occasion than dinner.

Then there was her expression; cold, forbidding, almost frightening in its intensity.  And her eyes, piercingly blue and yet laced with pain.  Dracula’s daughter was his immediate description of her.

All in all, he considered, the only thing they had in common was, like him, she seemed totally out of place.

Mrs Mac came out of the kitchen, wiping her hands on her apron.  She was, she informed him earlier, chef, waitress, hotelier, barmaid, and cleaner all rolled into one.  Coming up to the new arrival, she said, “Ah, Miss Andrews, I’m glad you decided to have dinner.  Would you like to sit with Mr Henshaw, or would you like to have a table of your own?”

Henry could feel her icy stare as she sized up his appeal as a dining companion, making the hair on the back of his neck stand up.  He purposely didn’t look back.  In his estimation, his appeal rating was minus six.  Out of a thousand!

“If Mr Henshaw doesn’t mind….”  She looked at him, leaving the query in mid-air.

He didn’t mind and said so.  Perhaps he’d underestimated his rating.

“Good.”  Mrs Mac promptly ushered her over.  Henry stood, made sure she was seated properly and sat.

“Thank you.  You are most kind.”  The way she said it suggested snobbish overtones.

“I try to be when I can.”  It was supposed to nullify her sarcastic tone, but it made him sound a little silly, and when she gave him another of her icy glares, he regretted it.

Mrs Mac quickly intervened, asking, “Would you care for the soup?”

They did, and, after writing the order on her pad, she gave them each a look, imperceptibly shook her head, and returned to the kitchen.

Before Michelle spoke to him again, she had another quick look at him, trying to fathom who and what he might be.  There was something about him.

His eyes mirrored the same sadness she felt, and, yes, there was something else, that it looked like he had been crying.  There was a tinge of redness.

Perhaps, she thought, he was here for the same reason she was.

No.  That wasn’t possible.

Then she said, without thinking, “Do you have any particular reason for coming here?”  Seconds later, she realised she’d spoken it out loud, hadn’t meant to actually ask, it just came out.

It took him by surprise, obviously not the first question he was expecting her to ask of him.

“No, other than it is as far from civilisation, and home as I could get.”

At least we agree on that, she thought.

It was obvious he was running away from something as well.

Given the isolation of the village and lack of geographic hospitality, it was, from her point of view, ideal.  All she had to do was avoid him, and that wouldn’t be difficult.

After getting through this evening first.

“Yes,” she agreed.  “It is that.”

A few seconds passed, and she thought she could feel his eyes on her and wasn’t going to look up.

Until he asked, “What’s your reason?”

Slightly abrupt in manner, perhaps, because of her question and how she asked it.

She looked up.  “Rest.  And have some time to myself.”

She hoped he would notice the emphasis she had placed on the word ‘herself’ and take due note.  No doubt, she thought, she had completely different ideas of what constituted a holiday than he, not that she had said she was here for a holiday.

Mrs Mac arrived at a fortuitous moment to save them from further conversation.

Over the entree, she wondered if she had made a mistake coming to the hotel.  Of course, there had been no conceivable way she could know that anyone else might have booked the same hotel, but she realised it was foolish to think she might end up in it by herself.

Was that what she was expecting?

Not a mistake then, but an unfortunate set of circumstances, which could be overcome by being sensible.

Yet, there he was, and it made her curious, not that he was a man, by himself, in the middle of nowhere, hiding like she was, but for quite varied reasons.

On discreet observation, whilst they ate, she gained the impression his air of light-heartedness was forced, and he had no sense of humour.

This feeling was engendered by his looks, unruly dark hair, and permanent frown.  And then there was his abysmal taste in clothes on a tall, lanky frame.  They were quality but totally unsuited to the wearer.

Rebellion was written all over him.

The only other thought crossing her mind, and incongruously, was that he could do with a decent feed.  In that respect, she knew now from the mountain of food in front of her, he had come to the right place.

“Mr Henshaw?”

He looked up.  “Henshaw is too formal.  Henry sounds much better,” he said, with a slight hint of gruffness.

“Then my name is Michelle.”

Mrs Mac came in to take their order for the only main course, gather up the entree dishes, and then return to the kitchen.

“Staying long?” she asked.

“About three weeks.  Yourself?”

“About the same.”

The conversation dried up.

Neither looked at the other, but rather at the walls, out the window, towards the kitchen, anywhere.  It was, she thought, unbearably awkward.

Mrs Mac returned with a large tray with dishes on it, setting it down on the table next to theirs.

“Not as good as the usual cook,” she said, serving up the dinner expertly, “but it comes a good second, even if I do say so myself.  Care for some wine?”

Henry looked at Michelle.  “What do you think?”

“I’m used to my dining companions making the decision.”

You would, he thought.  He couldn’t help but notice the cutting edge of her tone.  Then, to Mrs Mac, he named a particular White Burgundy he liked, and she bustled off.

“I hope you like it,” he said, acknowledging her previous comment with a smile that had nothing to do with humour.

“Yes, so do I.”

Both made a start on the main course, a concoction of chicken and vegetables that were delicious, Henry thought when compared to the bland food he received at home and sometimes aboard my ship.

It was five minutes before Mrs Mac returned with the bottle and two glasses.  After opening it and pouring the drinks, she left them alone again.

Henry resumed the conversation.  “How did you arrive?  I came by train.”

“By car.”

“Did you drive yourself?”

And he thought, a few seconds later, that was a silly question; otherwise, she would not be alone, and certainly not sitting at this table. With him.

“After a fashion.”

He could see that she was formulating a retort in her mind, then changed it, instead, smiling for the first time, and it served to lighten the atmosphere.

And in doing so, it showed him she had another, more pleasant side despite the fact she was trying not to look happy.

“My father reckons I’m just another of ‘those’ women drivers,” she added.

“Whatever for?”

“The first and only time he came with me, I had an accident.  I ran up the back of another car.  Of course, it didn’t matter to him that the other driver was driving like a startled rabbit.”

“It doesn’t help,” he agreed.

“Do you drive?”

“Mostly people up the wall.”  His attempt at humour failed.  “Actually,” he added quickly, “I’ve got a very old Morris that manages to get me where I’m going.”

The apple pie and cream for dessert came and went, and the rapport between them improved as the wine disappeared and the coffee came.  Both had found, after getting to know each other better, that their first impressions were not necessarily correct.

“Enjoy the food?” Mrs Mac asked, suddenly reappearing.

“Beautifully cooked and delicious to eat,” Michelle said, and Henry endorsed her remarks.

“Ah, it does my heart good to hear such genuine compliments,” she said, smiling.  She collected the last of the dishes and disappeared yet again.

“What do you do for a living?” Michelle asked in an offhand manner.

He had a feeling she was not particularly interested, and it was just making conversation.

“I’m a purser.”

“A what?”

“A purser.  I work on a ship doing the paperwork, that sort of thing.”

“I see.”

“And you?”

“I was a model.”

“Was?”

“Until I had an accident, a rather bad one.”

“Oh, I’m sorry.”

So that explained the odd feeling he had about her.

As the evening wore on, he began to think there might be something wrong, seriously wrong with her because she didn’t look too well.  Even the carefully applied makeup, from close, didn’t hide the very pale, tired look, or the sunken, dark-ringed eyes.

“I try not to think about it, but it doesn’t necessarily work.  I’ve come here for peace and quiet, away from doctors and parents.”

“Then you will not have to worry about me annoying you.  I’m one of those fall-asleep-reading-a-book types.”

Perhaps it would be like ships passing in the night, and then he smiled to himself about the analogy.

Dinner over, they separated.

Henry went back to the lounge to read a few pages of his book before going to bed, and Michelle went up to her room to retire for the night.

But try as he might, he was unable to read, his mind dwelling on the unusual, yet compellingly mysterious person he would be sharing the hotel with.

Overlaying that original blurred image of her standing in the doorway was another of her haunting expressions that had, he finally conceded, taken his breath away, and a look that had sent more than one tingle down his spine.

She may not have thought much of him, but she had certainly made an impression on him.

© Charles Heath 2015-2024

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“One Last Look”, nothing is what it seems

A single event can have enormous consequences.

A single event driven by fate, after Ben told his wife Charlotte he would be late home one night, he left early, and by chance discovered his wife having dinner in their favourite restaurant with another man.

A single event where it could be said Ben was in the wrong place at the wrong time.

Who was this man? Why was she having dinner with him?

A simple truth to explain the single event was all Ben required. Instead, Charlotte told him a lie.

A single event that forces Ben to question everything he thought he knew about his wife and the people who are around her.

After a near-death experience and forced retirement into a world he is unfamiliar with, Ben finds himself once again drawn back into that life of lies, violence, and intrigue.

From London to a small village in Tuscany, little by little, Ben discovers who the woman he married is, and the real reason why fate had brought them together.

It is available on Amazon here:  http://amzn.to/2CqUBcz

365 Days of writing, 2026 – 140

Day 140 – Writing longhand rather than digitally

The Case for the Page: Why Your Next First Draft Should Be Handwritten

In an era of lightning-fast keyboards, voice-to-text, and AI-assisted drafting, the act of putting pen to paper can feel almost prehistoric. Why reach for a pen when you can type at 80 words per minute? Why endure the hand cramp when you can edit with a simple backspace?

Yet, there is a growing movement of writers—from novelists to essayists—who are returning to the humble notebook for their first drafts. Beyond the aesthetic appeal of a leather-bound journal or the scratch of a fountain pen, there is a profound, functional benefit to writing in longhand.

If you’ve been feeling disconnected from your writing, here is why you might want to slow it down and go analog.

1. A Tangible Record of Your Evolution

When you write digitally, the “delete” key is a magician. You type a sentence, realise it’s weak, hit backspace, and it vanishes into the ether. It is as if the thought never existed.

In longhand, you cannot truly erase. You can only cross out.

This creates a tangible map of your creative process. When you look back at a physical page, you see the evolution of your ideas. You see the discarded phrases, the scribbled synonyms in the margins, and the sudden arrows pointing to a better arrangement. This “messy” draft becomes a record of your intellectual labor. It proves you didn’t just arrive at the finished product; you fought for it. There is a deep, psychological satisfaction in seeing that history remain on the page, rather than in a digital void.

2. The Permanence of Thought

Digital writing is ephemeral. Even with “Track Changes” or version history, the digital experience is defined by constant editing. We are trained to polish as we go, which stifles the raw, uninhibited flow of a first draft.

Longhand forces a slower pace, but it also provides a sense of finality. Once the ink touches the paper, the thought is “baked.” This forces you to be more deliberate with your word choices, yet paradoxically, it also allows you to make mistakes without the pressure to correct them immediately. Because you can’t easily “clean up” a handwritten draft, you are forced to keep moving forward, which is the golden rule of drafting: don’t look back until the page is full.

3. A Deeper Cognitive Connection

Neuroscience suggests that the brain processes information differently when we engage in handwriting. The physical act of forming letters and the tactile sensation of pen on paper activate different areas of the brain than typing does.

Many writers report that longhand helps them enter a “flow state” more easily. There are no notifications popping up in the corner of your notebook. No temptation to check email. No ability to reformat your font or check the word count every five minutes. It is just you and the paper, creating an environment where deep focus is the default, not the exception.

4. The Beauty of the “Permanent Erasure”

There is a unique kind of vulnerability in handwriting. Because you cannot delete, you learn to embrace the imperfection. You stop obsessing over the perfect opening sentence and start focusing on the truth of the sentence.

When you do eventually transcribe your handwritten draft into a digital format, you are essentially performing your first major edit. You aren’t just copying; you’re reading, refining, and selecting the best parts of what you wrote. It turns the editing process into a deliberate, second-pass creative act rather than a chore.

The Verdict?

Writing in longhand isn’t about being a Luddite. It’s about recognising that the “best” tools for efficiency aren’t always the “best” tools for creativity.

If your writing feels stagnant or you find yourself endlessly editing instead of creating, put the laptop away. Grab a pen. Feel the weight of the ink on the page. You might find that the best way to move your writing forward is to take a step back into the past.

Have you ever tried handwriting your first draft? Do you find it helps you unlock new ideas, or does it feel like extra work? Let me know in the comments below.

Harry Walthenson, Private Detective – the second case – A case of finding the “Flying Dutchman”

What starts as a search for a missing husband soon develops into an unbelievable story of treachery, lies, and incredible riches.

It was meant to remain buried long enough for the dust to settle on what was once an unpalatable truth, when enough time had passed, and those who had been willing to wait could reap the rewards.

The problem was, no one knew where that treasure was hidden or the location of the logbook that held the secret.

At stake, billions of dollars’ worth of stolen Nazi loot brought to the United States in an anonymous tramp steamer and hidden in a specially constructed vault under a specifically owned plot of land on the once docklands of New York.

It may have remained hidden and unknown to only a few, if it had not been for a mere obscure detail being overheard …

… by our intrepid, newly minted private detective, Harry Walthenson …

… and it would have remained buried.

Now, through a series of unrelated events, or are they, that well-kept secret is out there, and Harry will not stop until the whole truth is uncovered.

Even if it almost costs him his life.  Again.

The cinema of my dreams – I never wanted to go to Africa – Episode 31

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 a 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 folder had half a dozen single-page sheets with a photo attached to each with a standard-issue army paper clip.  There was no top secret in pale red ink diagonally scribed across any of the pages, which somehow diminished the exercise.

I guessed this was the hand-picked team selected for me to take on our suicide mission.  It didn’t have the officer overseeing the mission or the go-between, Jacobi.  Not exactly a useful man to have along in a firefight, because he would be too busy working out who would pay the most if or when he survived.

It still astonished me that we hired people like Jacobi, fully knowing that they would sell out their own mother if the price was right.  I was going to reserve one bullet in my gun to execute him the moment he even looked the wrong way.

Trust him, I did not.

Nor any of the six members of that hand-picked team.

Sergeant Barnes.  Tall, wide, deadly, that last attribute courtesy of a line in his resume that said he killed three soldiers of the army we were supposed to be training and supporting.  No meaningful reason was given as to why he did, only that he’d just finished serving a five-year sentence, cut short by a month so he could join this force.  Hand-to-hand combat, and a handyman to have if you’ve got a handheld rocket launcher handy.

Private Williamson.  Had been a Corporal, but considered that too much of a burden, having men look up to him, and having to give orders.  He decided to go AWOL instead.  Used to be a butcher before signing on to see the world, and as described, very handy with a knife.  Refused to use a gun, and refused orders too, which was the reason why he was in the stockade, with his friend, the next man on the list.

Private Shurl.  If we needed a man who excelled at sword fighting, he was our man.  A very accomplished swordsman, but I doubt we were going to need a man of his talents because enemy swordsmen seemed only to exist in the old movies.  I guess Lallo was expecting the three musketeers or something.  Other than that, he was a useful radioman and would be handling the communications once we were on the ground in enemy territory.

Corporal Stark.  His claim to fame was reading maps.  He was also an expert on the ground in the country whose borders we were about to violate.  He lived in the country for several years with his wife, who came from there, and who’d been killed by the dictator in a case of mistaken identity.  Stark would have to be carefully managed.

Staff Sergeant Mobley.  A man who had been up and down in ranks for a long time, suggesting a bad attitude, his latest bout leaving him fresh from a stint in the stockade.  He had no valid reason to be in on this disaster and yet had volunteered.  That took courage to apply for a suicide mission with little hope of return.  I suspect he had an agenda that no one else knew about.

And, lastly

Lieutenant Lesley Davies.  A woman marine, no longer a lieutenant but just another soldier who obviously didn’t understand the concept of taking one step back when everyone else steps in another direction.  It didn’t say what it was she did wrong, but my guess is that there were a few men out there frightened of meeting her on a dark night.  Some women are dainty, some women are large, and then there’s Davies, a powerhouse that could be dangerous if out of control.

Out of all of that team, she was the one who interested me the most.

There was a knock on the door, interrupting my thoughts.  I called out, “Enter”, surprised the person outside hadn’t just shoved their way into the room.

The door opened, Monroe walked in and closed the door behind her.

“Let me guess,” I said.  “You’re running point.”

“And save your sorry ass from those recruits.  Not a brain between the lot of them, and we need people who can think, given the nature of the forthcoming exercise.  The brains trust has decided the rescue team reports to us.  I didn’t ask for it, by the way.  This is one of Lallo’s sick jokes.”

Maybe he had a problem with her, too and was hoping she wasn’t coming back.

“You and me both,” I said.

She threw another folder on the table.  “Operational orders, wheels up at 0600 tomorrow.  Make sure you get a hearty meal before we leave, it might be your last for a while.”

I shrugged. 

“Suit yourself.”  She went back to the door, gave me a curious look, and left.

I opened the file and looked at the one piece of paper in it.  It was marked Top Secret in red diagonally across the page, probably specially done by Lallo to make me feel important.  It had departure time, the weather, the flight time, and how long the stopover would be before going on to the target.

Tightly planned, no room for missing connections, though this was the army, not an airline taking us, no room for errors.  New intel said that we had five days before the prisoners were to be executed.

No pressure then.

© Charles Heath 2019-2026