Third son of a Duke – The research behind the story – 22

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

There are historical records and evidence that the RMS Orontes did leave Australian ports carrying passengers in April 1915. While the ship was later formally requisitioned as a troopship, it continued to operate on the Australia-UK mail and passenger service during the early part of the war, though under significantly changed conditions. 

The April 1915 voyage of the RMS Orontes 

  • Brisbane departure: The Orontes left Brisbane on April 4, 1915.
  • Adelaide stop: On April 16, 1915, the ship stopped in the Outer Harbor at Port Adelaide. An article in the newspaper The Advertiser reports that after a few hours’ stay to take on mail and some passengers, the ship continued its “homeward” voyage.
  • Passengers and purpose: The Adelaide newspaper also noted that among the passengers on this specific sailing were 22 medical men and 29 nurses headed for England, highlighting the wartime nature of the travel. 

An itinerary for the April 1915 voyage

Based on the available records, here is a likely itinerary for the RMS Orontes on its April 1915 voyage from Australia to London:

  • Early April 1915: The ship likely originated its journey in the eastern states of Australia.
  • April 4, 1915: Departed Brisbane.
  • Mid-April 1915 (before April 16): Departed from Sydney and Melbourne.
  • April 16, 1915: Made a brief stop at Adelaide’s Outer Harbor to take on mail and some passengers before continuing on.
  • Late April 1915: Called at Fremantle, as was standard for the UK-Australia route. In March 1915, the Orontes had stopped at Fremantle, suggesting it was part of its regular route.
  • En route via Port Said: The Orient Line’s Australia route, which the Orontes served, traveled via the Suez Canal and Port Said. A stop here was standard for fueling and logistics, and it also put the vessel in the heart of a war zone, increasing the danger of the journey.
  • Mid-May 1915: The ship would have continued its journey through the Mediterranean and around the Iberian Peninsula to its final destination in London. 

Key takeaway

While the voyage was not under a formal military requisition like later in the war, the circumstances were profoundly shaped by World War I. Travel was far from routine, with a heavy emphasis on essential service and mail delivery. The presence of medical personnel bound for England highlights the military undertones of even seemingly “civilian” voyages during this period. 

Follow that cab… – A short story

Nothing ever good comes from eavesdropping.

Or, so my mother said, once, with such feeling that I suspect she had some experience of having done so. It might explain the enmity between her and her older sister, the aunt we never saw.

Except all that changed when I received an odd email from a woman who claimed to be that very aunt.

We had all been warned about scams that came from dubious sources online, and this initially struck me as one. I would need more information before I answered.

That meant poking the bear, that is, asking my mother about her sister.

And coming right out with the words she hoped she’d never heard.

“Aunt Guenivere sent me an email, asking if we could meet. It seems she wants to meet the nephew she hasn’t seen since I was born. What happened to you two?”

It brought a look of total hatred in return.

“You would be wise not to respond. That woman is just plain evil.”

“You do realise that a statement like that makes it even more imperative that I should meet her. If you’re not going to tell me what happened, I’m sure she will.”

“Then if you must, you must.”

It wasn’t resignation but suppressed rage. Whatever had happened, it was something she believed no one would believe her, or understand, least of all me.

With that, she stood and walked out of the room, leaving me with the ominous feeling that it would be the last time I saw her.

After verifying that my so-called aunt was Aunt Guenivere, I arranged a meeting in a public place, a tea room in Queens. And it wasn’t going to be hard to recognise her, she would just be an older version of my mother.

I knew this because I had found a photograph of my mother and her two sisters, all of whom looked very much alike. I’d known about the younger sister, who had died in an accidental car crash many years before, and what my mother regarded as a wasted life.

I saw her about the same time she saw me.

And she just made it to the table when her cell phone rang. She smiled, put a hand up and asked for a moment, and then went back outside. I watched her walk up and down, slowly at first, but I could see the conversation was getting heated.

After a few minutes, I went outside to see if I could be of any assistance.

Apparently not. One look was enough, and I knew what it meant. At least her sister and my mother shared the same facial expressions when angry.

Then the conversation ended. I thought, for a moment, she was going to throw the phone on the ground, and only just managed to stop herself.

Instead, she came over and said. “I’m sorry, but something has come up and I have to go. I’ll call you.”

With that, she waved down a taxi, one stopped, and she jumped in.

Another pulled in behind her taxi and, on the spur of the moment, said with a flourish, “Follow that cab.”

The driver turned to look at me and then said, “You’re kidding.”

I held up a hundred-dollar note and said, seriously, “This is yours if you don’t lose it.”

Incentive enough.

It was a lot easier to follow that taxi than I thought. We caught up and the first set of lights and then proceeded to miss every second intersection as if the universe knew I needed to keep her in sight.

All the way to the Upper West Side and a very expensive apartment block. I paid the cabbie and jumped out, just in time to see a very familiar figure join my aunt.

My father.

And they didn’t look like people who didn’t know each other, or who were at war.

They remained outside the apartment block, and I could see my father had arrived by cab, and it was waiting for him.

I got as close as I could, hidden effectively behind the bushes that lined the building entrance. They were speaking loudly, which surprised me

“What the hell were you thinking?” he said, not angrily, but I could tell he was agitated.

“I was thinking it was time someone told him the truth.”

What truth?

“You know what Evelyn thinks of that, and I do too. You made an agreement.”

“I’ve changed my mind. After all, he is my son, not hers.”

—–

© Charles Heath 2020-2025

Writing a book in 365 days – 339

Day 339

Unlock Your Potential: The Power of Joining a Writer’s Group

Writing is often a solitary pursuit. Hunched over a keyboard, staring at a blank page, or lost in the quiet hum of creativity—these moments define the life of a writer. But what if there was a way to transform isolation into inspiration? Enter writers’ clubs, workshops, or writing groups: vibrant communities that offer more than just feedback. They become the bedrock of growth, connection, and resilience for writers at any stage of their journey. Let’s explore the transformative benefits of joining such a group.


1. Constructive Feedback and a Fresh Perspective

One of the most immediate benefits of joining a writing group is the constructive feedback you receive. While self-editing is essential, external perspectives can unveil blind spots. For example, a fellow writer might notice an inconsistency in a character’s motivation or suggest a pacing adjustment you hadn’t considered. Workshops often foster a culture of honesty and kindness, helping you refine your work with specific, actionable insights.

Moreover, reading others’ work exposes you to diverse styles, genres, and techniques. This cross-pollination of ideas can spark creativity and broaden your own writing toolkit.


2. Motivation, Accountability, and Discipline

The writing process can be inconsistent. Deadlines slip, self-doubt creeps in, and distractions abound. A writer’s group provides structure and accountability. Regular meetings, shared writing goals (like word counts or drafting timelines), and peer encouragement create a rhythm that keeps you on track.

Imagine committing to write 500 words a week, knowing your group will check in on your progress. Suddenly, the task feels personal and collaborative. The shared energy of a room (or virtual space) filled with fellow writers can reignite your passion on even the toughest days.


3. Learning and Skill Development

Writing groups often double as learning hubs. Many workshops include writing exercises, mini-lessons on grammar or storytelling techniques, or guest speakers who share industry tips. For instance, a member might lead a session on dialogue writing, or the facilitator could guide a critique focused on character development.

Even informal exchanges—discussing a favourite novel or dissecting a challenging scene—can deepen your understanding of the craft. The more you engage, the sharper your skills become.


4. Networking and Collaboration Opportunities

Connections matter. By joining a writing group, you become part of a network of like-minded individuals. These relationships can lead to collaborations—co-authoring a story, editing each other’s manuscripts, or even finding a publishing agent through introductions.

Additionally, many groups host or share information about contests, publications, or local literary events. For emerging writers, these opportunities can be invaluable for visibility and growth.


5. Emotional Support and Validation

Writing is an emotionally charged endeavour. Rejection letters, “fix-it” feedback, and the pressure to publish can wear you down. A writer’s group offers emotional support, a safe space to vent, celebrate small wins, and process setbacks.

Feeling part of a community combats the isolation many writers face. Sharing your struggles with others who “get it” fosters resilience and reminds you that your voice matters.


6. Access to Resources and Creative Stimulation

Many groups curate resources: writing prompts, book recommendations, or even shared tools like grammar checkers. Some offer access to exclusive workshops or masterclasses. Online groups, in particular, can connect you to global experts and trends in the literary world.

The collaborative brainstorming sessions are gold, too. A tired plot idea revived by a group member’s unexpected twist, or a new genre explored through peer encouragement—these moments keep creativity alive.


7. Building Confidence and Overcoming Self-Doubt

Imposter syndrome is common among writers. Hearing peers praise your work or admit they struggle with similar doubts can be incredibly validating. Over time, the supportive environment of a writing group helps you trust your voice and embrace your unique style.

Additionally, sharing your writing aloud in a group setting helps build confidence in your work—and your ability to receive feedback without defensiveness.


Find Your Tribe: Where to Start

Still unsure? Begin by searching for local writing groups through libraries, community centres, or platforms like Meetup and Eventbrite. If in-person isn’t possible, online writing communities (e.g., Reddit’s r/writing, Scribophile) offer equally rich interactions. For the bold, consider starting your own group!


Final Thoughts

A writer’s group isn’t just a place to “get feedback.” It’s a village of collaborators, cheerleaders, and mentors who help you grow both personally and professionally. By joining such a community, you invest in your craft—and your confidence. So, take the leap. Share your work, lean on others, and watch your writing thrive in ways you never imagined.

What’s your favourite benefit of a writing group? Share your experiences in the comments below!

Ready to connect? Explore local or online writing groups today and unlock the power of collective creativity. 📝

What I learned about writing – It’s easy to get distracted

Started to write a post, get 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 realize 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, this was from the golden years of Hollywood? Such bright and cheerful movies such 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, comes to mind, firstly the Wizard of Oz and then High Society.

Moving forward to more modern times, several stand out in the 1960s, My Fair Lady and 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.

An excerpt from “Echoes from the Past”

Available on Amazon Kindle here:  https://amzn.to/2CYKxu4

With my attention elsewhere, I walked into a man who was hurrying in the opposite direction.  He was a big man with a scar running down the left side of his face from eye socket to mouth, and who was also wearing a black shirt with a red tie.

That was all I remembered as my heart almost stopped.

He apologized as he stepped to one side, the same way I stepped, as I also muttered an apology.

I kept my eyes down.  He was not the sort of man I wanted to recognize later in a lineup.  I stepped to the other side and so did he.  It was one of those situations.  Finally getting out of sync, he kept going in his direction, and I towards the bus, which was now pulling away from the curb.

Getting my breath back, I just stood riveted to the spot watching it join the traffic.  I looked back over my shoulder, but the man I’d run into had gone.  I shrugged and looked at my watch.  It would be a few minutes before the next bus arrived.

Wait, or walk?  I could also go by subway, but it was a long walk to the station.  What the hell, I needed the exercise.

At the first intersection, the ‘Walk’ sign had just flashed to ‘Don’t Walk’.  I thought I’d save a few minutes by not waiting for the next green light.  As I stepped onto the road, I heard the screeching of tires.

A yellow car stopped inches from me.

It was a high powered sports car, perhaps a Lamborghini.  I knew what they looked like because Marcus Bartleby owned one, as did every other junior executive in the city with a rich father.

Everyone stopped to look at me, then the car.  It was that sort of car.  I could see the driver through the windscreen shaking his fist, and I could see he was yelling too, but I couldn’t hear him.  I stepped back onto the sidewalk, and he drove on.  The moment had passed and everyone went back to their business.

My heart rate hadn’t come down from the last encounter.   Now it was approaching cardiac arrest, so I took a few minutes and several sets of lights to regain composure.

At the next intersection, I waited for the green light, and then a few seconds more, just to be sure.  I was no longer in a hurry.

At the next, I heard what sounded like a gunshot.  A few people looked around, worried expressions on their faces, but when it happened again, I saw it was an old car backfiring.  I also saw another yellow car, much the same as the one before, stopped on the side of the road.  I thought nothing of it, other than it was the second yellow car I’d seen.

At the next intersection, I realized I was subconsciously heading towards Harry’s new bar.   It was somewhere on 6th Avenue, so I continued walking in what I thought was the right direction.

I don’t know why I looked behind me at the next intersection, but I did.  There was another yellow car on the side of the road, not far from me.  It, too, looked the same as the original Lamborghini, and I was starting to think it was not a coincidence.

Moments after crossing the road, I heard the roar of a sports car engine and saw the yellow car accelerate past me.  As it passed by, I saw there were two people in it, and the blurry image of the passenger; a large man with a red tie.

Now my imagination was playing tricks.

It could not be the same man.  He was going in a different direction.

In the few minutes I’d been standing on the pavement, it had started to snow; early for this time of year, and marking the start of what could be a long cold winter.  I shuddered, and it was not necessarily because of the temperature.

I looked up and saw a neon light advertising a bar, coincidentally the one Harry had ‘found’ and, looking once in the direction of the departing yellow car, I decided to go in.  I would have a few drinks and then leave by the back door if it had one.

Just in case.

© Charles Heath 2015-2020

newechocover5rs

Inspiration, maybe – Volume 1

50 photographs, 50 stories, of which there is one of the 50 below.

They all start with –

A picture paints … well, as many words as you like.  For instance:

lookingdownfromcoronetpeak

And the story:

It was once said that a desperate man has everything to lose.

The man I was chasing was desperate, but I, on the other hand, was more desperate to catch him.

He’d left a trail of dead people from one end of the island to the other.

The team had put in a lot of effort to locate him, and now his capture was imminent.  We were following the car he was in, from a discrete distance, and, at the appropriate time, we would catch up, pull him over, and make the arrest.

There was nowhere for him to go.

The road led to a dead-end, and the only way off the mountain was back down the road were now on.  Which was why I was somewhat surprised when we discovered where he was.

Where was he going?

“Damn,” I heard Alan mutter.  He was driving, being careful not to get too close, but not far enough away to lose sight of him.

“What?”

“I think he’s made us.”

“How?”

“Dumb bad luck, I’m guessing.  Or he expected we’d follow him up the mountain.  He’s just sped up.”

“How far away?”

“A half-mile.  We should see him higher up when we turn the next corner.”

It took an eternity to get there, and when we did, Alan was right, only he was further on than we thought.”

“Step on it.  Let’s catch him up before he gets to the top.”

Easy to say, not so easy to do.  The road was treacherous, and in places just gravel, and there were no guard rails to stop a three thousand footfall down the mountainside.

Good thing then I had the foresight to have three agents on the hill for just such a scenario.

Ten minutes later, we were in sight of the car, still moving quickly, but we were going slightly faster.  We’d catch up just short of the summit car park.

Or so we thought.

Coming quickly around another corner we almost slammed into the car we’d been chasing.

“What the hell…” Aland muttered.

I was out of the car, and over to see if he was in it, but I knew that it was only a slender possibility.  The car was empty, and no indication where he went.

Certainly not up the road.  It was relatively straightforward for the next mile, at which we would have reached the summit.  Up the mountainside from here, or down.

I looked up.  Nothing.

Alan yelled out, “He’s not going down, not that I can see, but if he did, there’s hardly a foothold and that’s a long fall.”

Then where did he go?

Then a man looking very much like our quarry came out from behind a rock embedded just a short distance up the hill.

“Sorry,” he said quite calmly.  “Had to go if you know what I mean.”

I’d lost him.

It was as simple as that.

I had been led a merry chase up the hill, and all the time he was getting away in a different direction.

I’d fallen for the oldest trick in the book, letting my desperation blind me to the disguise that anyone else would see through in an instant.

It was a lonely sight, looking down that road, knowing that I had to go all that way down again, only this time, without having to throw caution to the wind.

“Maybe next time,” Alan said.

“We’ll get him.  It’s just a matter of time.”

© Charles Heath 2019-2021

Find this and other stories in “Inspiration, maybe”  available soon.

InspirationMaybe1v1

Writing a book in 365 days – 339

Day 339

Unlock Your Potential: The Power of Joining a Writer’s Group

Writing is often a solitary pursuit. Hunched over a keyboard, staring at a blank page, or lost in the quiet hum of creativity—these moments define the life of a writer. But what if there was a way to transform isolation into inspiration? Enter writers’ clubs, workshops, or writing groups: vibrant communities that offer more than just feedback. They become the bedrock of growth, connection, and resilience for writers at any stage of their journey. Let’s explore the transformative benefits of joining such a group.


1. Constructive Feedback and a Fresh Perspective

One of the most immediate benefits of joining a writing group is the constructive feedback you receive. While self-editing is essential, external perspectives can unveil blind spots. For example, a fellow writer might notice an inconsistency in a character’s motivation or suggest a pacing adjustment you hadn’t considered. Workshops often foster a culture of honesty and kindness, helping you refine your work with specific, actionable insights.

Moreover, reading others’ work exposes you to diverse styles, genres, and techniques. This cross-pollination of ideas can spark creativity and broaden your own writing toolkit.


2. Motivation, Accountability, and Discipline

The writing process can be inconsistent. Deadlines slip, self-doubt creeps in, and distractions abound. A writer’s group provides structure and accountability. Regular meetings, shared writing goals (like word counts or drafting timelines), and peer encouragement create a rhythm that keeps you on track.

Imagine committing to write 500 words a week, knowing your group will check in on your progress. Suddenly, the task feels personal and collaborative. The shared energy of a room (or virtual space) filled with fellow writers can reignite your passion on even the toughest days.


3. Learning and Skill Development

Writing groups often double as learning hubs. Many workshops include writing exercises, mini-lessons on grammar or storytelling techniques, or guest speakers who share industry tips. For instance, a member might lead a session on dialogue writing, or the facilitator could guide a critique focused on character development.

Even informal exchanges—discussing a favourite novel or dissecting a challenging scene—can deepen your understanding of the craft. The more you engage, the sharper your skills become.


4. Networking and Collaboration Opportunities

Connections matter. By joining a writing group, you become part of a network of like-minded individuals. These relationships can lead to collaborations—co-authoring a story, editing each other’s manuscripts, or even finding a publishing agent through introductions.

Additionally, many groups host or share information about contests, publications, or local literary events. For emerging writers, these opportunities can be invaluable for visibility and growth.


5. Emotional Support and Validation

Writing is an emotionally charged endeavour. Rejection letters, “fix-it” feedback, and the pressure to publish can wear you down. A writer’s group offers emotional support, a safe space to vent, celebrate small wins, and process setbacks.

Feeling part of a community combats the isolation many writers face. Sharing your struggles with others who “get it” fosters resilience and reminds you that your voice matters.


6. Access to Resources and Creative Stimulation

Many groups curate resources: writing prompts, book recommendations, or even shared tools like grammar checkers. Some offer access to exclusive workshops or masterclasses. Online groups, in particular, can connect you to global experts and trends in the literary world.

The collaborative brainstorming sessions are gold, too. A tired plot idea revived by a group member’s unexpected twist, or a new genre explored through peer encouragement—these moments keep creativity alive.


7. Building Confidence and Overcoming Self-Doubt

Imposter syndrome is common among writers. Hearing peers praise your work or admit they struggle with similar doubts can be incredibly validating. Over time, the supportive environment of a writing group helps you trust your voice and embrace your unique style.

Additionally, sharing your writing aloud in a group setting helps build confidence in your work—and your ability to receive feedback without defensiveness.


Find Your Tribe: Where to Start

Still unsure? Begin by searching for local writing groups through libraries, community centres, or platforms like Meetup and Eventbrite. If in-person isn’t possible, online writing communities (e.g., Reddit’s r/writing, Scribophile) offer equally rich interactions. For the bold, consider starting your own group!


Final Thoughts

A writer’s group isn’t just a place to “get feedback.” It’s a village of collaborators, cheerleaders, and mentors who help you grow both personally and professionally. By joining such a community, you invest in your craft—and your confidence. So, take the leap. Share your work, lean on others, and watch your writing thrive in ways you never imagined.

What’s your favourite benefit of a writing group? Share your experiences in the comments below!

Ready to connect? Explore local or online writing groups today and unlock the power of collective creativity. 📝

First Dig Two Graves

A sequel to “The Devil You Don’t”

Revenge is a dish best served cold – or preferably so when everything goes right

Of course, it rarely does, as Alistair, Zoe’s handler, discovers to his peril. Enter a wildcard, John, and whatever Alistair’s plan for dealing with Zoe was dies with him.

It leaves Zoe in completely unfamiliar territory.

John’s idyllic romance with a woman who is utterly out of his comfort zone is on borrowed time. She is still trying to reconcile her ambivalence, after being so indifferent for so long.

They agree to take a break, during which she disappears. John, thinking she has left without saying goodbye, refuses to accept the inevitable, calls on an old friend for help in finding her.

After the mayhem and being briefly reunited, she recognises an inevitable truth: there is a price to pay for taking out Alistair; she must leave and find them first, and he would be wise to keep a low profile.

But keeping a low profile just isn’t possible, and enlisting another friend, a private detective and his sister, a deft computer hacker, they track her to the border between Austria and Hungary.

What John doesn’t realise is that another enemy is tracking him to find her too. It could have been a grand tour of Europe. Instead, it becomes a race against time before enemies old and new converge for what will be an inevitable showdown.

An excerpt from “Strangers We’ve Become” – Coming Soon

I wandered back to my villa.

It was in darkness.  I was sure I had left several lights on, especially over the door so I could see to unlock it.

I looked up and saw the globe was broken.

Instant alert.

I went to the first hiding spot for the gun, and it wasn’t there.  I went to the backup and it wasn’t there either.  Someone had found my carefully hidden stash of weapons and removed them.

Who?

There were four hiding spots and all were empty.  Someone had removed the weapons.  That could only mean one possibility.

I had a visitor, not necessarily here for a social call.

But, of course, being the well-trained agent I’d once been and not one to be caught unawares, I crossed over to my neighbor and relieved him of a weapon that, if found, would require a lot of explaining.

Suitably armed, it was time to return the surprise.

There were three entrances to the villa, the front door, the back door, and a rather strange escape hatch.  One of the more interesting attractions of the villa I’d rented was its heritage.  It was built in the late 1700s, by a man who was, by all accounts, a thief.  It had a hidden underground room which had been in the past a vault but was now a wine cellar, and it had an escape hatch by which the man could come and go undetected, particularly if there was a mob outside the door baying for his blood.

It now gave me the means to enter the villa without my visitors being alerted, unless, of course, they were near the vicinity of the doorway inside the villa, but that possibility was unlikely.  It was not where anyone could anticipate or expect a doorway to be.

The secret entrance was at the rear of the villa behind a large copse, two camouflaged wooden doors built into the ground.  I move aside some of the branches that covered them and lifted one side.  After I’d discovered the doors and rusty hinges, I’d oiled and cleaned them, and cleared the passageway of cobwebs and fallen rocks.  It had a mildew smell, but nothing would get rid of that.  I’d left torches at either end so I could see.

I closed the door after me, and went quietly down the steps, enveloped in darkness till I switched on the torch.  I traversed the short passage which turned ninety degrees about halfway to the door at the other end.  I carried the key to this door on the keyring, found it and opened the door.  It too had been oiled and swung open soundlessly.

I stepped in the darkness and closed the door.

I was on the lower level under the kitchen, now the wine cellar, the ‘door’ doubling as a set of shelves which had very little on them, less to fall and alert anyone in the villa.

Silence, an eerie silence.

I took the steps up to the kitchen, stopping when my head was level with the floor, checking to see if anyone was waiting.  There wasn’t.  It seemed to me to be an unlikely spot for an ambush.

I’d already considered the possibility of someone coming after me, especially because it had been Bespalov I’d killed, and I was sure he had friends, all equally as mad as he was.  Equally, I’d also considered it nigh on impossible for anyone to find out it was me who killed him because the only people who knew that were Prendergast, Alisha, a few others in the Department, and Susan.

That raised the question of who told them where I was.

If I was the man I used to be, my first suspect would be Susan.  The departure this morning, and now this was too coincidental.  But I was not that man.

Or was I?

I reached the start of the passageway that led from the kitchen to the front door and peered into the semi-darkness.  My eyes had got used to the dark, and it was no longer an inky void.  Fragments of light leaked in around the door from outside and through the edge of the window curtains where they didn’t fit properly.  A bone of contention upstairs in the morning, when first light shone and invariably woke me up hours before I wanted to.

Still nothing.

I took a moment to consider how I would approach the visitor’s job.  I would get a plan of the villa in my head, all entrances, where a target could be led to or attacked where there would be no escape.

Coming in the front door.  If I was not expecting anything, I’d just open the door and walk-in.  One shot would be all that was required.

Contract complete.

I sidled quietly up the passage staying close to the wall, edging closer to the front door.  There was an alcove where the shooter could be waiting.  It was an ideal spot to wait.

Crunch.

I stepped on some nutshells.

Not my nutshells.

I felt it before I heard it.  The bullet with my name on it.

And how the shooter missed, from point-blank range, and hit me in the arm, I had no idea.  I fired off two shots before a second shot from the shooter went wide and hit the door with a loud thwack.

I saw a red dot wavering as it honed in on me and I fell to the floor, stretching out, looking up where the origin of the light was coming and pulled the trigger three times, evenly spaced, and a second later I heard the sound of a body falling down the stairs and stopping at the bottom, not very far from me.

Two assassins.

I’d not expected that.

The assassin by the door was dead, a lucky shot on my part.  The second was still breathing.

I checked the body for any weapons and found a second gun and two knives.  Armed to the teeth!

I pulled off the balaclava; a man, early thirties, definitely Italian.  I was expecting a Russian.

I slapped his face, waking him up.  Blood was leaking from several slashes on his face when his head had hit the stairs on the way down.  The awkward angle of his arms and legs told me there were broken bones, probably a lot worse internally.  He was not long for this earth.

“Who employed you?”

He looked at me with dead eyes, a pursed mouth, perhaps a smile.  “Not today my friend.  You have made a very bad enemy.”  He coughed and blood poured out of his mouth.  “There will be more …”

Friends of Bespalov, no doubt.

I would have to leave.  Two unexplainable bodies, I’d have a hard time explaining my way out of this mess.  I dragged the two bodies into the lounge, clearing the passageway just in case someone had heard anything.

Just in case anyone was outside at the time, I sat in the dark, at the foot of the stairs, and tried to breathe normally.  I was trying not to connect dots that led back to Susan, but the coincidence was worrying me.

A half-hour passed and I hadn’t moved.  Deep in thought, I’d forgotten about being shot, unaware that blood was running down my arm and dripping onto the floor.

Until I heard a knock on my front door.

Two thoughts, it was either the police, alerted by the neighbors, or it was the second wave, though why would they be knocking on the door?

I stood, and immediately felt a stabbing pain in my arm.  I took out a handkerchief and turned it into a makeshift tourniquet, then wrapped a kitchen towel around the wound.

If it was the police, this was going to be a difficult situation.  Holding the gun behind my back, I opened the door a fraction and looked out.

No police, just Maria.  I hoped she was not part of the next ‘wave’.

“You left your phone behind on the table.  I thought you might be looking for it.”  She held it out in front of her.

When I didn’t open the door any further, she looked at me quizzically, and then asked, “Is anything wrong?”

I was going to thank her for returning the phone, but I heard her breathe in sharply, and add, breathlessly, “You’re bleeding.”

I looked at my arm and realized it was visible through the door, and not only that, the towel was soaked in blood.

“You need to go away now.”

Should I tell her the truth?  It was probably too late, and if she was any sort of law-abiding citizen she would go straight to the police.

She showed no signs of leaving, just an unnerving curiosity.  “What happened?”

I ran through several explanations, but none seemed plausible.  I went with the truth.  “My past caught up with me.”

“You need someone to fix that before you pass out from blood loss.  It doesn’t look good.”

“I can fix it.  You need to leave.  It is not safe to be here with me.”

The pain in my arm was not getting any better, and the blood was starting to run down my arm again as the tourniquet loosened.  She was right, I needed it fixed sooner rather than later.

I opened the door and let her in.  It was a mistake, a huge mistake, and I would have to deal with the consequences.  Once inside, she turned on the light and saw the pool of blood just inside the door and the trail leading to the lounge.  She followed the trail and turned into the lounge, turned on the light, and no doubt saw the two dead men.

I expected her to scream.  She didn’t.

She gave me a good hard look, perhaps trying to see if I was dangerous.  Killing people wasn’t something you looked the other way about.  She would have to go to the police.

“What happened here?”

“I came home from the cafe and two men were waiting for me.  I used to work for the Government, but no longer.  I suspect these men were here to repay a debt.  I was lucky.”

“Not so much, looking at your arm.”

She came closer and inspected it.

“Sit down.”

She found another towel and wrapped it around the wound, retightening the tourniquet to stem the bleeding.

“Do you have medical supplies?”

I nodded.  “Upstairs.”  I had a medical kit, and on the road, I usually made my own running repairs.  Another old habit I hadn’t quite shaken off yet.

She went upstairs, rummaged, and then came back.  I wondered briefly what she would think of the unmade bed though I was not sure why it might interest her.

She helped me remove my shirt, and then cleaned the wound.  Fortunately, she didn’t have to remove a bullet.  It was a clean wound but it would require stitches.

When she’d finished she said, “Your friend said one day this might happen.”

No prizes for guessing who that friend was, and it didn’t please me that she had involved Maria.

“Alisha?”

“She didn’t tell me her name, but I think she cares a lot about you.  She said trouble has a way of finding you, gave me a phone and said to call her if something like this happened.”

“That was wrong of her to do that.”

“Perhaps, perhaps not.  Will you call her?”

“Yes.  I can’t stay here now.  You should go now.  Hopefully, by the time I leave in the morning, no one will ever know what happened here, especially you.”

She smiled.  “As you say, I was never here.”

© Charles Heath 2018-2022

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Third son of a Duke – The research behind the story –

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

What would a British-born passenger need to do to get passage on a passenger ship from Brisbane, Australia, to Port Said in Egypt or London in April 1915

By April 1915, getting passage on a ship from Australia to England was extremely difficult for any civilian, even for a British-born person. The outbreak of World War I had transformed the shipping industry, with most civilian passenger liners being requisitioned by the military. The few civilian passages that did exist were subject to strict wartime regulations, and a person would need a compelling and approved reason to travel. 

The process of securing passage

  1. Find a suitable ship: Normal commercial passenger routes operated by companies like P&O had been almost completely absorbed into the war effort. Any remaining civilian passages were extremely limited and likely had to be booked directly with the shipping company’s Australian office. Availability would have been scarce and prioritised for official purposes. Newspapers sometimes published limited shipping intelligence, but these were often for military transports or vessels moving cargo.
  2. Obtain official approval: Under the Australian War Precautions Act, travel was no longer a simple commercial transaction. A British-born passenger would need to apply for official permission to leave the country. The Australian military would review the application to ensure the journey was not a security risk and was for a valid, pressing reason. Permission would likely only be granted for essential purposes related to the war effort, government business, or extreme family emergencies.
  3. Provide a valid reason for travel: The burden of proof would be on the traveller. Reasons considered valid for travel might include:
    • Urgent family affairs: A severe illness, death of a close family member, or urgent estate matters in Britain.
    • War-related work: Civilian work in munitions or other support roles vital to the war effort.
    • Government or diplomatic duties: Official travel for the British or Australian governments.
  1. Submit to increased scrutiny: All passengers would face rigorous security checks and surveillance by military authorities. Travel on a military transport would mean abiding by naval discipline and strict security rules for the duration of the journey.
  2. Book the passage and pay the high fare: Even with a valid reason, securing a berth was rare and expensive due to the scarcity of ships. Fares would have been costly, and a berth would have been difficult to book on the limited number of vessels not completely filled with troops.