Category Archives: Sand Springs

recorder

He watches from afar, noting that she may have Winona Ryder eye. Didn’t she just visit a local hair stylist several days before? He knows she did, although not with the results she wanted. The results *they* wanted? It was a question he had to be asking at this juncture in our story.

—–

Back up to “normalcy”.

—–

“Where you been?”

“Oh just riding around the sand.”

“Hmm.”

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but the trees are flaming too

—–

Well I can certainly see why he’s called the Sandman, she thought. Better find Arthur, I mean, ahem, *Lemont*, down at the beach. But first… hair.

—–

“Oh I don’t want it cut,” she spoke upward to the dark, animalistic face hovering over her. “Just washed. I can’t cut my hair. My husband would be so disapproving (!).”

“That’ll be 55 dollars either way,” hissed the stylist. They didn’t click, she knew. Best to cut ties early before more energy drain. She can find another stylist later on. Anyway, Arthur *would* be happy. “Don’t change a thing,” he often speaks about her appearance, always making her cringe inside a bit. He wants stasis; she wants change. Yet he kind of controls her, she admits. She’s aiming to change that. The stylist must be more of his working.

“Credit it to the house,” she said when leaving, which caused even a bit more confusion.

——

“Why don’t you get out of that duck outfit and put on that cute, black bathing suit I bought you a while back.” Or was it purple? he thinks to himself, not being able to clearly picture it in rehearsal for some reason. Dark, anyway, he resolves the issue for now.

“Ohh… you know how easily I burn. I’ll keep these on.” She settles back into her chair, pats her hands on her covered knees to reinforce her staying put point. Eating away at the control. One nibble at a time.

Arthur settles back too, resigned to their current attire. “Soo. Tell me more about this Sandman.”

“Oh he’s rich.”

“Yeah, I gathered.” He looks around. Sand everywhere… at every level. Desert oasis he has here. An oasis from… Second Lyfe.

“We met through Edward. At that party his friends threw. One of those nights you were away. How’s the quest to find the ultimate Shakespearian role going by the by?” She hadn’t asked before on purpose. Arthur trusted Edward, she knew. As much as he trusted Keith with her. They were wedded in his mind. But Edward was certainly different from Keith, despite the friendly neighbor persona. Edward had designs. And she was stringing him along. All for the art mind you, she thought. The newest romance novel. I want to make the 5th different from the 4th which is different from the 3rd, etc., improvements and refinements all along. Edward is my sculpture, my newest muse even. I’m still married to Arthur certainly, she keeps pondering. No change there, whatever happens.

It was here she remembers she was married to Lemont. Not Arthur. He stares over at her, waiting for her next lines. Control.

(to be continued)

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nailed it

It was her father, Newt, and her mother, Wheeler, with herself in the middle. All dead, all ended, the Ur family complete.

It was her brother, it was her sister.

It was herself.

Next was a church with red doors, a cross over them and at the top of course. This was The Cross itself. Who should lay beside Shelley in her grave to be with her forever and ever and ever. Was it George? Arthur? Even that new stalker prevert Biff Carter, perhaps named after a detergent but perhaps not? This was the place they get married. This is the place they get buried.

Next: It was a long way up; another ladder.

Many spirits requested her presence.

The Void has spoken.

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the tale continues

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next please

Where’s Ruby Roo going?

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00350414

“I’m telling you, Kurt, we’ve gone too far with this horse shit.” She looks back. “A *tail*?”

Softly, offstage: “We have to make it realistic.”

“What’s that, Hybrid?” Janet Zzyzx’s new nickman for Kurt Strawb was Hybrid, because of the whole fruit-vegetable thing he’s got going on.

Less softly, less offstage: “I said, it’s the White Horse Inn and Bar, or so it says in the new script. We’re setting a scene (to use one of her favorite phrases, he thinks).”

“I look like a *showgirl*. *No*. Make that a *show horse*.”

Kurt: “Debbie (wardrobe manager) put a lot of work into these costumes. And this way we leave the door open for a Black Horse Bar and Inn, an opposite. It has to be this way, Janet. We can talk offstage more if you wish.”

“No no. No no. I don’t want to hold up production again.” Janet Zzyzx felt she was acquiring a reputation for being difficult, a no no in the film industry. You have to be there, you have to say your lines, you have to *show* up. In this case she has to show up as a “show horse.” She bends her head and says nay to her inner doubts. Kurt probably knows best. After all, he has a way with animals as demonstrated by “Black Jack in Hell,” about its only redeeming quality. The hounds of such turned out to be very obedient beasts thanks to his training and influence, working well in every scene. Contrast this to contemporary Tim Spellwell’s “Tortures of Satan” which had the Hades dogs running amok and even attacking the cast and crew. He never even made it to freshman class, film directing career almost literally going up in flames with that one. *Show* a little respect to Hybrid, Janet thought here. At least he had “Studio 342” under his belt, perhaps representing a one hit wonder but maybe not. The critics will reassess after this one; they always do.

“Okay, send in the first loser,” Janet requests, and then starts to get into character. Lichen Roosevelt, Lichen Roosevelt, she says in her mind. Not the first bar, not the last. She’s a bar hopper but not the way you typically think of the term. She’s *experienced*, and she answers to Fern, despite being better at comedy, which is saying a lot, especially in her mind. Could Fern be a successful opening act for the Comedy Pouch in Possum Ridge, Arkansas? She thinks not.

“Alright, is everyone *ready*?” Now he speaks up, Janet thinks. Darn — out of character again.

“Aaaaaaaaand ACTION.”

—–

“Biff?” she repeats his name from the end of Take 42. “Like the detergent?”

“Annnnnnnd CUT.”

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