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Russia Invades The Artic With Paratroopers

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So implies the newspaper headlines in the Spring of 2020. With photos. Photos provided by the Russian military.

In The Bonner Resolution, my novel of NATO Military Intrigue, the Russians do not invade the Artic. But they make stealth under the ice with a nuclear submarine. NATO is waiting.

This is how “The Bonner Resolution” begins:

 

Afternoon ZULU Time 14:52

The sky is clear and cold.

And blue.

This does not help while watching the expanse of ice. Colonel Bonner thought it would. He thought such a clean demarcation of surface and horizon would accentuate anything appearing between the two. Across kilometers of rippled ice that encourages the winds. The winds that make the Arctic cold penetrate his high tech parka and his thermal long johns. They talk about “wind chill” in the country Bonner is used to. They don’t know nothing.

Before this assignment, Colonel Bonner presumed he had been every place NATO could send him. He has been in war zones. He has been in safe zones where people did not know there is a war. He has been in those diplomatic zones that teeter-totter between the two. Those most of all. He has fought enemies both foreign and domestic. He has averted disaster of massive proportions on his own soil (well – legal sea boundary) that has still managed to remain unexplained.

It was cold there, too.

Colonel Bonner is lying under white camouflage blankets and upon a waterproof mat. He has been in this position for two hours. Any longer and he will be prone to hallucinations. Any longer and he will freeze his balls off – regardless of protective clothing and insulated mat. This is not just his opinion; it is the observation of his guide. His Canadian Ranger companion had nudged him on the shoulder and cupped his own groin and pointed at his watch. If he wants to have babies he’ll move his ass. The cold doesn’t creep up on you, it hits with a wallop. From one minute to the next.

Bonner looks at his own watch. Twenty minutes left though he feels he could have been here either four hours or forty minutes. Time expands and contracts at the same time. This happens during long periods of observation, wherever he has such an assignment. It happens with more force when there is virtually nothing to see. The passage of the sun is the most notable action going on before him. It proves to be of little distraction. And anyway, it is dimmed by his snow goggles.

Bonner adapts to this barren reality by accepting it is not really barren. He pays attention not only to the things the Canadian Rangers teach him, but he watches how they interact to the surroundings. With few humans to deal in an environment that can kill them, they are far more attentive to their senses than he. A creaking of ice, or the slant of shifting snow, tells them more than a manual reveals. They can smell a change coming toward them that is hours away. He makes an attempt to follow their lead. He keeps his mouth shut on the inane observations those from the south are prone to make. He has been shown his restraint is appreciated.

 

**************************

And this is but one of the many news stories that  cover the real event.
[IMAGE]  https://storage.googleapis.com/afs-prod/media/media:52a815de8b63498e8121d16f40112b6f/3000.jpeg

Proof of Life as Time Does What Time Does

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What sights indeed are these, that cause the racing clocks to pant their minutes in counterpoint to a life still learning the difference between wretchedness and love?

The swing goes up and the swing goes down, and then goes up again. If you are on that race, with childish yells, and up-down-mess-it-around feelings in the pit of your stomach, they haven’t lowered that coffin lid yet.

No, not yet.

****

What sights indeed are these, that make a heart argue the worth of dying, and ring the bells across the hill when there is no hand upon the rope?

There are happy tunes on the breeze and, yes, even the unicorn lifts its head with twitching ears and mouth agape.

And even (so it has been recorded, in long-ago books) our Lord Jesus God would pause in His ministrations at the wonder of it all.

****

What sights indeed are these, that ease the night’s passage and sow the fields full of restful dawn?

A race against the end is run by all of us; when the kitten kicks and purrs through her ball of string, or when the ancient’s cane tap-taps across the room. Eyes, whether young; or dim; or blind; can still open in amazement, and still marvel at the ever-changing newness.

Marvel and rejoice.

****

What sights indeed are these, that turn all tunes into rhapsodies of joy, and make the moon do gypsy dances through the night sky?

A sky of stars that shower and shake and stream across the galaxies to cram unto the ends of the distant universe. Grains of sand upon the shore would take sensitive fingers, and a lifetime of counting, yet still could never fill this distant space where even numbers stand in awe.

Zeros with mouths agape.

 

(Image) https://wornandwound.com/library/uploads/2017/06/Zytglogge-Bern-Astronomical-Clock-2.jpg

Fire And Murder: “Darkroom” Screenplay Excerpt

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An agent from California is contemplating my novel manuscript for Darkroom. It is a first-person novel about Norman, a psycho serial killer who likes fire.

Oddly, the last agent to be interested in this novel was also from California. He made many suggestions, which I took. I also, from that interest, wrote a screenplay that I had totally forgotten. So let’s let Norman have a bit of action.

DE

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

INT. HEAD OF STAIRS – NIGHT

INT. HALLWAY – NIGHT

INT. DOOR – NIGHT

INT. SMALL ROOM – NIGHT

One dim table light is on. NORMAN sits huddled over the desk. Norman is a slenderman in his early twenties. He is humming “What’s Love Got To Do With It” as he works at the desk.

INT. DESK TOP – NIGHT

Norman is ripping rags and letting them fall into a pail at his feet. As he looks up and turns toward the door he rubs his finger over his bushy Hitler mustache. He smiles and nods and grabs more rags.

NORMAN
No one sleeps long tonight.

Norman tears additional rags, but now arranges them more carefully in the pail. He takesa can of lighter fluid from a desk drawer and puts it on the table. He looks at his watch.

NORMAN
Norman gives them another forty minutes.

Norman starts to unwind a long piece of wire.

INT. HALLWAY – NIGHT

INT. LARGE ROOM – NIGHT

The lights are out with every bed filled. There is breathing and snoring and the creak of bedsprings.

INT. HALLWAY – NIGHT

Norman tiptoes along the hall. He holds the pail carefully in front of him.

INT. HEAD OF STAIRS – NIGHT

Norman takes the bottle of lighter fluid, and the wire, out of the pail. He squirts lighter fluid into the pail then drops the bottle into it. He carefully ties the wire at ankle height across the top step, winding it around the banister. He lights a whole book of matches and throws it into the pail.

INT. HALLWAY – NIGHT

Norman runs back to his own room.

INT. HEAD OF STAIRS – NIGHT

Flame erupts from the pail and smoke starts to billow.

 

(image) https://s-media-cache-ak0.pinimg.com/originals/da/ed/1c/daed1c987a5d1f31ab274950fb878c2e.jpg

“Burning In Berlin” Horror Movie With Ravens

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9.

INT. TOURIST BUS – DAY

 

The Two Children huddle on the floor. The Boy lies on the Girl.

stretching over her. He turns his head toward the Man With the Eye Patch.

 

INT. TOURIST BUS – DAY

 

The Man With the Eye Patch yells at the Boy.

 

MAN WITH EYE PATCH

Hide your face!

 

INT. TOURIST BUS – DAY

 

The Two Ravens dive simultaneously.

 

INT. TOURIST BUS – DAY

 

The Man With the Eye Patch holds up his suit coat in front of him.

The two Ravens fly right into the suit coat, pulling it from the Man’s hands. The Birds, entangled in the suit coat, hurtle against the window. One Bird gets free, while the other, still encased in the suit coat, falls on the Children.

 

INT. TOURIST BUS – DAY

 

The Boy shoves the Girl under the seat in front of them.

 

INT. TOURIST BUS – DAY

 

The freed Raven flies up toward the Man With the Eye Patch. The Man crouches into the stance of a boxer, and punches the bird directly on the side of its head. The stunned Raven tumbles over the seat back.

 

INT. TOURIST BUS – DAY

 

The Boy scurries under the seat where he had been sitting.

 

INT. TOURIST BUS – DAY

 

The Man With the Eye Patch grabs his suit coat with the trapped

Raven, and throws it to the far side of the bus.

 

MAN WITH THE EYE PATCH

(yelling)

All of you – get down!

 

INT. TOURIST BUS – DAY

 

The Raven is half out of the suit coat when it hits the window.

DE

(image) https://a.travel-assets.com/mediavault.le/media/b45cf39976f82453d505684f9ab18f82fbd7f9ce.jpeg

Adapt A Novel Manuscript To A Movie Script

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It will take a whole host of other people to tell me how successful I will be. I’ve done it twice, and realize I must not only ignore my usual method of writing, but often go exactly against it.

I  have attempted to “learn” how to write for film, with many instruction books, and classes, and workshops, and meetings with people. I read many film scripts, which did help me accept the (to my eye) arcane format. But the one thing which turned me visual was the comment of a writer/editor friend who said, after reading my attempt, “I can’t see it.” That is, it did not cause visual action in her mind. And I understood.

Perhaps the biggest hurdle to get over is to accept that a movie is not a book  Changes, additions, and omissions will be necessary. As with a stage play, there is a finite time limit that generally clocks in under two hours. The threads and plot points of a movie are different. And the characters (I swear) feel this freedom, and choose to accentuate other aspects of themselves than are revealed in a novel.

The very fact their paragraphs of dialogue must be reduced to two or three lines makes them uppity. And because they can, in mere seconds, be in diverse locations, performing radically different actions, they become exact without apology. They don’t have to fill in the spaces.

The writer has to fill in the spaces however, and do so with visual stimulation. The transitions have to be swift. Their descriptions exact.

The road is always the fast lane, and the characters kick the tires with gusto.

DE

 

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