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Thursday, May 27, 2010

the EVOLUTION: fort of minors

My greatest work to date is the Dirtyfoot's saga. Heavily based on my life and my experiences I needed the characters to be as real as possible. So far I think I have been fairly successful on that front. And with any story whether in print, on screen, or on stage there are always stand out characters. If you know me you know that I'm pretty humble. It is for that reason that the character that carries my namesake and a lot of my characteristics was written expressly not to be a breakout character. The good part about a series of with the sheer size of this one you're left with A LOT of stand out characters. In my opinion here are a few:

  • Joe Black:former criminal and the brother of Lucius Black.

  • Kenyah Black: the daughter of Joe and Carina black; heroic Hollyville PD who grapples with the wages of consuming passion.

  • David Jericho: the deadly and vicious ex-detective of the Hollyville PD who was no stranger to obsession, having fully accepted it.

  • Dana Kelly: the sweet, young woman who is pursued intently by best friend Jonathan Riley.

  • Jonathan Riley:the lovesick painter who chases his childhood crush Dana Kelly through calamity, ruin, and eventually marriage.

Yet of ALL these characters ther is one that I like most of all because of her evolution throughout the story.

Tara Kelly: the beautiful, green-eyed siren who slowly transforms from a shallow, self absorbed young woman to a caring, compassionate woman.

At first her initial appearance was in Dirtyfoot's @fter dark but I recently wrote a prequel (Le Dirty Clizze) to address any loose ends I let hang. In it she is introduced and described, merely as a minor character and a set piece, merely there to progress the story along. Here is where it begins. Enjoy.

Of No Comforting
Woman-So where is she?

(A query hangs in the air, a query posed by a female voice. The young woman to whom the voice belongs is beautiful, so beautiful that she is nearly unapproachable. She was shapely with full lips and long hair, her skin the color of a filter upon a cigarette. Of all the features her eyes were most entrancing. They were of a brilliant green unlike any in her family. At this moment those eyes stared across the room. Tara Kelly, Dana’s younger sister, waits a few moments longer for her answer then a male voice answers.)

Man-According to her, she’s in Aspen.

(Eric Kelly, or E.J., looked more like Dana than his younger sister did. Both shared the very same caramel complexion as well as the same eyes. The major difference between the two being that Eric exuded wisdom as opposed to Dana’s comforting warmth. Other differences were negligible such as age, height, and gender. Eric is adjusting his tie when Tara speaks again.)

Tara-Dana picked a hell of a time to go on vacation.

E.J.-Apparently it was Vegas’ idea. (looks at Tara, points to tie) Is my tie straight?

Tara-(looks at tie) It is. So how long is she gonna be gone for?

E.J.-A couple weeks. (looks at tie) Are you sure my tie is straight?

Tara-(sighs, rolls eyes) Positive, E.J. I wonder how her little painter is gonna take her absence at his father’s funeral.

E.J.-Hard to say, really. (grabs keys) Ok…let’s go.

Tara-Hold on. (turns around in a circle) What do you think of my dress?

E.J.-(looks at her, frowns) It’s too tight and too short…especially for a funeral.

Tara-Hmmm…perfect then.

E.J.-I don’t feel like the usual argument so let’s just go.

(Brother and sister get into the car and start the slow trip to Trinity Church. Per what was expected of a funeral there were somber faces and tears falling amid the crowd. E.J. and Tara make their way through the mass of humanity in an attempt to enter the church. On their trek to the entrance both run into a wholly unwelcomed face-Jonathan. The painter looks red eyed, almost as if he had cried for days. Tara hugs the mournful artist tightly, speaking kind words as he reciprocates the embrace.)

Tara-Sorry about your dad, Jonathan.

Jonathan-Thank you, Tara… (lets go, shakes E.J.’s hand) I appreciate you both being here.

E.J.-Not a problem, Jonathan.

Tara-Glad we could be here for you.

Jonathan-(looks around) Is Dana here?

Tara-(uncomfortably) Ummm…she’s…

E.J.-She’s in Aspen with Vegas.

Jonathan-(blankly) Oh. Excuse me, guys.

Tara-No problem.

(Jonathan walks off from the two Kellys, leaving Tara to look hard at E.J. and punch his arm. He
looks at her, affronted.)

E.J.-(rubs arm, looks at Tara) Ouch. What was that for?

Tara-Why would you tell him that?

E.J.-Being direct is preferable to stuttering and beating around the bush, Katara.

Tara-A younger version of Daddy if ever there was one.

(The two enter the church and find a seat near the front as people filter into the sanctuary. Elsewhere Jonathan stands before a bathroom mirror, sighing and wondering over the woman he has always thought of.)

Verse One
Grand houri
Shall sweet elation ever comfort?
To ease away pauper sorrows
As likewise lonely wretch
Has done in every moment
Even second
Since eyes were blessed
In taking on such glory
Or will continue the standard
Of no comforting to be had

Jonathan-Just maybe once.

Verse Two
Beloved muse
Will loving ecstasy ever console?
The falling of tears evermore
Similar to same such consolation
Always given
Surely shared
Since heart beat in rhythm
To the count of perfect soul
Or will remain the status quo
Of no comforting to be had

Jonathan-Maybe just the once.

(Lost in his thoughts for a moment he scarcely notices Maxwell until he yells at him, the effect jarring him back to reality.)


Jonathan-Huh? Oh, hey Max.

Riley-They’re about to start. Mom set me to come get you.

Jonathan-OK…(sighs) let’s go.