Category: Fiction

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. 

Jump Now – A short story

It was 2 am, the ideal time to assemble a team that would be clandestinely boarding a vessel.

Dark and moonless, it was fortuitous rather than planned, and, dressed in black from head to toe, it was hard to see the others in the inky darkness.  At least something was on our side.

Up until this point, we’d had nothing but bad luck, though I was more of the opinion that we had a traitor in our midst because some of the events could not have any other explanation.

It had caused me to be far more selective in who I gave details of the mission to.

Each of the four team members had arrived and let themselves into the shed.  It was not far from the ocean, and a small pier where there was a landing craft waiting.  From there, it would be a half-hour trip out to the ship in question, where, if we got close enough, we would either have to go over the side and swim or pull alongside, but either way, we’d have to go up a rope.

A lot depended on the crew member we had recruited getting a rope overboard, and given the luck we had so far, if there was a flaw in the plan, that was it.

Aside from the four people sitting in front of me, there were only three others privy to what was about to happen.  Now, with recent events, it was hard to imagine that one of them could betray us. That’s why I hadn’t completely told them what they were about to do, just that they needed to be prepared to get wet.

“I’m sure, now we’re here, you can tell us what’s going on.”  Robert was the most trusted of my team and my best friend.

“And why all the hush-hush?”  Linda added.  She had been amused at the secrecy and my explanation.

I was never very good at spinning a story.  She knew that but had not questioned why.

“It’s been touch and go for the last week.  It’s why we’ve all been on standby, with this last-minute call out.  We’ve been waiting for a particular ship to leave port, and now it has.  So, without further ado, let’s get to it.  A boat ride, just enough time to gather the courage to the sticking point, and then with any luck we won’t have to go into the water and swim, but a short shimmy up a rope.  I hope you’ve all been working out.”

The boat ride was in silence.  I’d worked with this group before, and they were not big on talking.  Aside from the fact that noise travelled over water, and since we had a specially silenced motor on the boat, there was not going to be any unnecessary conversation.

We could see the ship once we reached the headland, and aside from its running lights, there were lights where I presumed the bridge was, and several in the crew quarters.  Closer again, I got the impression it was not moving, or if it was, it was very slow.  It was difficult to make out in the darkness.  That same darkness aided our approach.

When we were within several hundred yards, I could see that the ship was not moving and, in fact, had the anchor out.

That was not expected.  Were they waiting for us?  Had they discovered the crew member who was working with us?  We’d know soon enough if there was no rope in the designated point, not far forward of the stern, a spot where we could maneuver the boat under the hull curvature.

The driver piloted the boat slowly to the designated point, and the rope was there.  He would stay with the boat and wait.  The four of us would go up and collect what we came for.

I watched the three go up the rope before me, waiting for the last to stop at the top and then go over the side onto the deck.  It took nearly a minute before I got the signal that it was clear to follow.

It had been too easy.

I went up the rope slowly, slower than the others, something other than the object of the exercise on my mind.  Not three days before, I had a conversation with my boss, telling him that I’d been doing the job too long and that it was time to retire.  Approaching forty wasn’t exactly retirement age, but in this job, lasting that long was almost a miracle.  The places I’d been, the sights I’d seen, and the people I’d met.  And how many lives I’d used up.

It was a dangerous thing, thinking about anything other than the job when you’re on the job.

I reached the top and pulled myself over the railing and onto the deck.  A little off balance, it took a moment to stand.  By then, it was too late.

Two of the three other members of the team were sitting by the superstructure, hands on their heads, two members of the crew were watching them, guns at the ready, and Linda had one pointing at me.

“I can’t imagine how MacIntyre thought he was going to convince Petra to defect.  Or how this charade of a rescue attempt was ever going to work.”

I put my hands up.  Not entirely unexpected.  “It was not the mission objective.”

“What…”

I was surprised that she had made her move so early.  If it were my operation, I would wait until we were well into the superstructure, heading to the cabin where Petra would be waiting, and then make the move.

Three seconds, three shots, two guards taken out, and Linda incapacitated.  She would not be moving or fighting back any time soon.  Then Petra came out of the shadows, and I collected Linda’s gun and stood near her, just in case Petra missed the target.

Petra cut the two others’ bindings and said, “Get to the side and jump now.”

Linda looked up at me.  “What now?”

I shrugged.  “Time for us to leave.”  I gave Petra a nod, and she went over to the side, took one look back at Linda, shook her head, then jumped.

“You’re just going to leave me here?”

“If it were up to me, I’d shoot you, but MacIntire is getting a little soft in his old age.  But yes, I’m leaving you here.  Now, I really must go.”

I took a last look at Linda, who realised that if she moved, it would only worsen her injury, and jumped, not exactly my preferred way of leaving the ship.

The boat came up alongside me, and two hands dragged me on board. At the same time, we could hear the sound of the anchor chain being pulled up, and the propellers creating a wash as the ship started moving.

Job done, and not one that pleased me.  “Let’s go home,” I told the driver, “it’s past my bedtime.”

—-

© Charles Heath 2020-2025

Writing a book in 365 days – 338

Day 338

Don’t Be Obsessed, Be Obsessedly Curious: The Balanced Art of Writing a Compelling Play

Playwriting is a thrilling dance between creativity and discipline. It’s a craft that demands passion, yet many aspiring playwrights believe they must be obsessively consumed by their work to succeed. But here’s the truth: you don’t need to be obsessive to write a great play. Instead, what you need is curiosity, patience, and a toolkit of strategies to bring your vision to life. Let’s explore why obsession isn’t the answer—and how to write a play that lingers in the hearts of audiences long after the curtain falls.

The Myth of the “Obsessed Artist”

Pop culture loves the image of the tormented artist locked in a studio for months, surviving on coffee and sheer willpower. But this myth is a red herring. While dedication is key, obsession—borderline compulsion, neglecting self-care, or losing balance—can lead to burnout, poor writing, and even health issues.

Consider this: Great plays are born from sustainable creativity, not self-destruction. Playwrights like Lynn Nottage and David Mamet thrived by setting boundaries, sleeping, and nourishing their minds with diverse experiences. The goal isn’t to “die for your art” but to live for it in a way that fuels your creativity without stealing your joy.

5 Strategies to Write a Compelling Play (Without Going Crazy)

1. Start with a Core Question, Not a Plot

Every great play is driven by an emotional or philosophical “what if?” Ask yourself:

  • What story haunts me?
  • What truth am I desperate to explore?
    Your answer might be as simple as, “What if a single mother lost her job and had to choose between her kids and a dream?” That question becomes the heartbeat of your play. Build your plot and characters to answer it—or, better yet, to challenge it.

2. Craft Nuanced Characters, Not Stereotypes

Audiences don’t want perfect heroes or villains. They want characters who feel human: flawed, vulnerable, and complicated.

  • Give each character a hidden motive. (Example: A grieving father might lash out, but his rage masks guilt.)
  • Avoid monologues that “explain” everything—let their actions and subtext do the work.

3. Fuel the Fire with Conflict and Stakes

Conflict isn’t just a punchy line—it’s the engine of drama. Ask:

  • What do my characters want?
  • What’s stopping them?
  • What do they stand to lose?

Think of Glengarry Glen Ross by David Mamet: The fight for a car sales job isn’t just about money—it’s about dignity. Raise the stakes by making the cost of failure personal.

4. Dialogue That Bites: Less Is More

Play dialogue should echo real speech—but with purpose.

  • Trim the filler: Delete “ums” and “you know.”
  • Subtext is your friend: Let characters say one thing but mean another. (This is how Shakespeare’s Ophelia truly speaks.)
  • Conflict in soundbites: Short, sharp lines pack more punch than long speeches.

Need help? Try the “Rewrite as a Screenplay” method: If your lines would feel at home on a Zoom call, they’re not dramatic enough.

5. Edit Ruthlessly and Collaborate Relentlessly

First drafts are drafts for a reason. Let them simmer, then revise with a surgeon’s precision.

  • Cut scenes that don’t serve the core question.
  • Work with others: Read your play aloud to beta readers, actors, or writers’ groups. Fresh ears catch what you miss.

Remember: Even August Wilson revised his plays 20+ times. Perfection isn’t a starting point—it’s a destination.

The Secret Sauce: Curiosity Over Compulsion

The key to writing a compelling play isn’t marathon sessions fueled by espresso but consistency and exploration. Take walks, read poetry, or attend stranger’s conversations. Inspiration isn’t just about being a “crazy artist”—it’s about living with open eyes and ears.

And when you feel stuck? Pace yourself. A daily 30-minute writing habit can build a masterpiece faster than a week-long caffeine-fueled sprint followed by burnout.

Final Thought: Write to Be Free, Not Trapped

A play is a mirror held up to life. It doesn’t have to be born of obsessive frenzy—just honest curiosity. The stage is for stories that matter, not for self-imposed suffering. So write from your deepest joys, fears, and questions. And remember: Your best work will come when you’re energised to tell it—not exhausted by the process.

Now go. Let the world see what makes you uniquely human. The audience is waiting. 🎭

Need more playwriting tips? Join our monthly writing workshops or follow us for weekly tips on balancing creativity and sanity in the arts. You’ve got this!

What I learned about writing – Not every writing issue is writer’s block

If I get a headache, I can take paracetamol

If I have a sore back, I can take ipBrufen.

If I can’t put words on paper … what is there I can take?

It affects us all at some point, but it’s not necessarily that old demon writer’s block.

What is writer’s block anyway?  Is it some existential disease that doesn’t really exist, yet something we can blame where we can’t write?

So, it’s down to looking for reasons, and logically looking at what is the underlying cause of the problem.  We should be asking ourselves questions, like

Are we constantly distracted from writing?

Plan or no plan, subconsciously it doesn’t feel right, that the next scene, plotline or character interaction does follow, is contrived, is just plain wrong?

Usually, for me, it only takes two questions and the answer pops up.

I’ve written myself into the proverbial corner, and there’s no logical way to go forward.

What does that mean?

Well, that is covered by a third possible outcome from answering the questions.

I have to go back and do some major re-writes of earlier work, make sure there are the appropriate hooks and maybe even change the direction, even if just a little.

That, in itself, in the back of your mind, knowing what has to be done, and putting off the inevitable, is another reason why this project isn’t moving forward.

Two aspirin can’t solve this.

Nothing can.

Perhaps we should rename writer’s block to writer’s dilemma.

Another excerpt from ‘Betrayal’; a work in progress

…

My next destination in the quest was the hotel we believed Anne Merriweather had stayed at.

I was, in a sense, flying blind because we had no concrete evidence she had been there, and the message she had left behind didn’t quite name the hotel or where Vladimir was going to take her.

Mindful of the fact that someone might have been following me, I checked to see if the person I’d assumed had followed me to Elizabeth’s apartment was still in place, but I couldn’t see him. Next, I made a mental note of seven different candidates and committed them to memory.

Then I set off to the hotel, hailing a taxi. There was the possibility the cab driver was one of them, but perhaps I was slightly more paranoid than I should be. I’d been watching the queue, and there were two others before me.

The journey took about an hour, during which time I kept an eye out the back to see if anyone had been following us. If anyone was, I couldn’t see them.

I had the cab drop me off a block from the hotel and then spent the next hour doing a complete circuit of the block the hotel was on, checking the front and rear entrances, the cameras in place, and the siting of the driveway into the underground carpark. There was a camera over the entrance, and one we hadn’t checked for footage. I sent a text message to Fritz to look into it.

The hotel lobby was large and busy, which was exactly what you’d want if you wanted to come and go without standing out. It would be different later at night, but I could see her arriving about mid-afternoon, and anonymous among the type of clientele the hotel attracted.

I spent an hour sitting in various positions in the lobby simply observing. I had already ascertained where the elevator lobby for the rooms was, and the elevator down to the car park. Fortunately, it was not ‘guarded’ but there was a steady stream of concierge staff coming and going to the lower levels, and, just from time to time, guests.

Then, when there was a commotion at the front door, what seemed to be a collision of guests and free-wheeling bags, I saw one of the seven potential taggers sitting by the front door. Waiting for me to leave? Or were they wondering why I was spending so much time there?

Taking advantage of that confusion, I picked my moment to head for the elevators that went down to the car park, pressed the down button, and waited.

The was no car on the ground level, so I had to wait, watching, like several others, the guests untangling themselves at the entrance, and an eye on my potential surveillance, still absorbed in the confusion.

The doors to the left car opened, and a concierge stepped out, gave me a quick look, then headed back to his desk. I stepped into the car, pressed the first level down, the level I expected cars to arrive on, and waited what seemed like a long time for the doors to close.

As they did, I was expecting to see a hand poke through the gap, a latecomer. Nothing happened, and I put it down to a television moment.

There were three basement levels, and for a moment, I let my imagination run wild and considered the possibility that there were more levels. Of course, there was no indication on the control panel that there were any other floors, and I’d yet to see anything like it in reality.

With a shake of my head to return to reality, the car arrived, the doors opened, and I stepped out.

A car pulled up, and the driver stepped out, went around to the rear of his car, and pulled out a case. I half expected him to throw me the keys, but the instant glance he gave me told him was not the concierge, and instead brushed past me like I wasn’t there.

He bashed the up button several times impatiently and cursed when the doors didn’t open immediately. Not a happy man.

Another car drove past on its way down to a lower level.

I looked up and saw the CCTV camera, pointing towards the entrance, visible in the distance. A gate that lifted up was just about back in position and then made a clunk when it finally closed. The footage from the camera would not prove much, even if it had been working, because it didn’t cover the life lobby, only in the direction of the car entrance.

The doors to the other elevator car opened, and a man in a suit stepped out.

“Can I help you, sir? You seem lost.”

Security, or something else. “It seems that way. I went to the elevator lobby, got in, and it went down rather than up. I must have been in the wrong place.”

“Lost it is, then, sir.” I could hear the contempt for Americans in his tone. “If you will accompany me, please.”

He put out a hand ready to guide me back into the elevator. I was only too happy to oblige him. There had been a sign near the button panel that said the basement levels were only to be accessed by the guests.

Once inside, he turned a key and pressed the lobby button. The doors closed, and we went up. He stood, facing the door, not speaking. A few seconds later, he was ushering me out to the lobby.

“Now, sir, if you are a guest…”

“Actually, I’m looking for one. She called me and said she would be staying in this hotel and to come down and visit her. I was trying to get to the sixth floor.”

“Good. Let’s go over the the desk and see what we can do for you.”

I followed him over to the reception desk, where he signalled one of the clerks, a young woman who looked and acted very efficiently, and told her of my request, but then remained to oversee the proceeding.

“Name of guest, sir?”

“Merriweather, Anne. I’m her brother, Alexander.” I reached into my coat pocket and pulled out my passport to prove that I was who I said I was. She glanced cursorily at it.

She typed the name into the computer, and then we waited a few seconds while it considered what to output. Then, she said, “That lady is not in the hotel, sir.”

Time to put on my best-confused look. “But she said she would be staying here for the week. I made a special trip to come here to see her.”

Another puzzled look from the clerk, then, “When did she call you?”

An interesting question to ask, and it set off a warning bell in my head. I couldn’t say today, it would have to be the day she was supposedly taken.

“Last Saturday, about four in the afternoon.”

Another look at the screen, then, “It appears she checked out Sunday morning. I’m afraid you have made a trip in vain.”

Indeed, I had. “Was she staying with anyone?”

I just managed to see the warning pass from the suited man to the clerk. I thought he had shown an interest when I mentioned the name, and now I had confirmation. He knew something about her disappearance. The trouble was, he wasn’t going to volunteer any information because he was more than just hotel security.

“No.”

“Odd,” I muttered. “I thought she told me she was staying with a man named Vladimir something or other. I’m not too good at pronouncing those Russian names. Are you sure?”

She didn’t look back at the screen. “Yes.”

“OK, now one thing I do know about staying in hotels is that you are required to ask guests with foreign passports their next destination, just in case they need to be found. Did she say where she was going next?” It was a long shot, but I thought I’d ask.

“Moscow. As I understand it, she lives in Moscow. That was the only address she gave us.”

I smiled. “Thank you. I know where that is. I probably should have gone there first.”

She didn’t answer; she didn’t have to, her expression did that perfectly.

The suited man spoke again, looking at the clerk. “Thank you.” He swivelled back to me. “I’m sorry we can’t help you.”

“No. You have more than you can know.”

“What was your name again, sir, just in case you still cannot find her?”

“Alexander Merriweather. Her brother. And if she is still missing, I will be posting a very large reward. At the moment, you can best contact me via the American Embassy.”

Money is always a great motivator, and that thoughtful expression on his face suggested he gave a moment’s thought to it.

I left him with that offer and left. If anything, the people who were holding her would know she had a brother, that her brother was looking for her, and equally that brother had money.

…

© Charles Heath – 2018-2025

“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 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 a number of small, interconnecting events, when piled on top of each other, points to a cataclysmic end to everything he had believed in.

Trust is lost firstly in his best friend and mentor, Andy, who only hints of 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 discovered piece by piece damning evidence 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 is 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

Writing a book in 365 days – 338

Day 338

Don’t Be Obsessed, Be Obsessedly Curious: The Balanced Art of Writing a Compelling Play

Playwriting is a thrilling dance between creativity and discipline. It’s a craft that demands passion, yet many aspiring playwrights believe they must be obsessively consumed by their work to succeed. But here’s the truth: you don’t need to be obsessive to write a great play. Instead, what you need is curiosity, patience, and a toolkit of strategies to bring your vision to life. Let’s explore why obsession isn’t the answer—and how to write a play that lingers in the hearts of audiences long after the curtain falls.

The Myth of the “Obsessed Artist”

Pop culture loves the image of the tormented artist locked in a studio for months, surviving on coffee and sheer willpower. But this myth is a red herring. While dedication is key, obsession—borderline compulsion, neglecting self-care, or losing balance—can lead to burnout, poor writing, and even health issues.

Consider this: Great plays are born from sustainable creativity, not self-destruction. Playwrights like Lynn Nottage and David Mamet thrived by setting boundaries, sleeping, and nourishing their minds with diverse experiences. The goal isn’t to “die for your art” but to live for it in a way that fuels your creativity without stealing your joy.

5 Strategies to Write a Compelling Play (Without Going Crazy)

1. Start with a Core Question, Not a Plot

Every great play is driven by an emotional or philosophical “what if?” Ask yourself:

  • What story haunts me?
  • What truth am I desperate to explore?
    Your answer might be as simple as, “What if a single mother lost her job and had to choose between her kids and a dream?” That question becomes the heartbeat of your play. Build your plot and characters to answer it—or, better yet, to challenge it.

2. Craft Nuanced Characters, Not Stereotypes

Audiences don’t want perfect heroes or villains. They want characters who feel human: flawed, vulnerable, and complicated.

  • Give each character a hidden motive. (Example: A grieving father might lash out, but his rage masks guilt.)
  • Avoid monologues that “explain” everything—let their actions and subtext do the work.

3. Fuel the Fire with Conflict and Stakes

Conflict isn’t just a punchy line—it’s the engine of drama. Ask:

  • What do my characters want?
  • What’s stopping them?
  • What do they stand to lose?

Think of Glengarry Glen Ross by David Mamet: The fight for a car sales job isn’t just about money—it’s about dignity. Raise the stakes by making the cost of failure personal.

4. Dialogue That Bites: Less Is More

Play dialogue should echo real speech—but with purpose.

  • Trim the filler: Delete “ums” and “you know.”
  • Subtext is your friend: Let characters say one thing but mean another. (This is how Shakespeare’s Ophelia truly speaks.)
  • Conflict in soundbites: Short, sharp lines pack more punch than long speeches.

Need help? Try the “Rewrite as a Screenplay” method: If your lines would feel at home on a Zoom call, they’re not dramatic enough.

5. Edit Ruthlessly and Collaborate Relentlessly

First drafts are drafts for a reason. Let them simmer, then revise with a surgeon’s precision.

  • Cut scenes that don’t serve the core question.
  • Work with others: Read your play aloud to beta readers, actors, or writers’ groups. Fresh ears catch what you miss.

Remember: Even August Wilson revised his plays 20+ times. Perfection isn’t a starting point—it’s a destination.

The Secret Sauce: Curiosity Over Compulsion

The key to writing a compelling play isn’t marathon sessions fueled by espresso but consistency and exploration. Take walks, read poetry, or attend stranger’s conversations. Inspiration isn’t just about being a “crazy artist”—it’s about living with open eyes and ears.

And when you feel stuck? Pace yourself. A daily 30-minute writing habit can build a masterpiece faster than a week-long caffeine-fueled sprint followed by burnout.

Final Thought: Write to Be Free, Not Trapped

A play is a mirror held up to life. It doesn’t have to be born of obsessive frenzy—just honest curiosity. The stage is for stories that matter, not for self-imposed suffering. So write from your deepest joys, fears, and questions. And remember: Your best work will come when you’re energised to tell it—not exhausted by the process.

Now go. Let the world see what makes you uniquely human. The audience is waiting. 🎭

Need more playwriting tips? Join our monthly writing workshops or follow us for weekly tips on balancing creativity and sanity in the arts. You’ve got this!

“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 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 is going to be terrible consequences no matter what choice he makes.

https://amzn.to/2CYKxu4

newechocover5rs

In a word: Rain

Well, isn’t it just like you to rain on my parade?

Yes, and don’t we need a lot of rain because of the bushfires that are burning out of control?

Rain is that stuff that falls from the sky, sometimes at the awkwardest of times, like when you leave your umbrella in the car.

And rain can be a problem in sub-zero temperatures and high winds when it almost takes on the form of multiple miniature knives.  Rain and snow together, sleep, but that’s something else.

Of course, it could always rain cats and dogs, a rather interesting occurrence if it ever happened.

This should not be confused with the word rein.

As any horseperson would know this is what helps control a horse

But, it doesn’t have to be a horse, it might be that you are told to rein in your attack dog

Or rein in your excesses

Or alternatively, give a person free rein to go about their business.

Then there is reign, that period of time when a monarch rules, and it seems in England women hold the record for the longest reign, Queen Victoria, and Queen Elizabeth II

That’s distinct from the office oligarchs who seem to think they reign over the plebs

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