The Connect, Pt. 3

The friend of a friend...

The term seems to be seen often, in dating circles or when in social situations of casual associations. There are times when you meet this "friend of a friend" and they are cast aside in memory almost as soon as you meet them. Other times that secondary friendship becomes something more substantial. For example, I met three or four people (there are more but we're focusing on a small number) through my partner Cam. At first thought the people that come to mind as enduring souls are Santos, Vanessa, Lauren, and Lieu. This installment of "The Connect" is about the last named Lieu Fatale.

I KNOW!! She's been a discussion point before.

By way of a disclaimer, this IS NOT me being a suck-up or pole jocking. It has always been a policy of mine to speak well of those who I see talent and greatness in. She happens to one of them. Period.






For a LONG time Lucius Black and Lieu Fatale have been threatening a collaboration. It's been discussed but somehow, given our own individual drives an/or hustles, it hasn't come into fruition as planned. Very recently it did. When asked to scribble a hook to one of my latest songs, milady Fatale rose to the challenge and then some. She has told me of three to four possibe hooks. THREE TO FOUR!! What you will be reading is the song supplemented with one of those hooks. As always, your opinion matters. Yerp.


Letters Home

Verse One
The lead to the paper when the number twos were nubs
“Are you ready”, a simple question with answers of shrugs
So unsure of the first steps when the words came
But there was the given name
Caught up in the list of progression all the same
Heavy worlds on the Atlas in the brand new scenario
Excitement and a fear a masked man will barely show
It was a thrill, nothing or but eclectic
Despite the nerves and the presses being hectic
The freedom of breathing was damn near electric
The boy was a prodigal after a million doting days
A three twice guy, three thrice girl making sixty-nine ways
Young and wild making nights louder in their coming of two meaning
A sin city for the new secrets and the bad hands leaning
It was well hidden from home and mother’s gleaning
(But still you’re lost in the limelight, right?)

Chorus
The strumpets and panderers whispering in the night
Hustling for souls promising riches & a good time
Everything to be wished for granted with one breath
The spoil of the streets nurturing on an ambitious breast
When the wells run dry and the young suffer a slow death
There is nothing left but smiles caged within rotting flesh

Verse Two
Ballpoint’s turn to trace the pages until the ink dries
Long ago the kid as formerly seen up and lies down, dies
Leaving an animal with the same face and less ambition
Unless the word counts for putting pretty lambs in position
For rounds of pounding without either looking to intermission
Libations became the new water, tipped with fire and change
Making Jekyll no longer Hyde if only to rearrange
Suffer the purpose in the face of weekly drunken KOs
Trading cunning linguists for a little fellatio
“Blow this horn, girl, like you were Horatio”
Embracing the prodigal tighter than lovers true
When being straight laced is the last thing to do
Only in the slow evenings without drink or joint
As the lines with the words anoint
Unafraid now of who the stories might disappoint
(But still a young illusion…who are you fooling?)

Chorus

Verse Three
Twelve pointed font when the format is right
Something so tired of the endless nights
Came about the time when fun got far too crazy
Right after the blood proved no ifs, ands, or maybe
When little Miss, that three thrice had that baby
Kicked the bad habits off to the waiting curb
Left behind the libations and no seasonings of the herb
Still the income got unfamiliar, fast money slows
And every previous looks a lot like plural no
Rolled highs once, now prepare for the lows
Here alone with nothing remaining of old design
Hard than new arithmetic to say it’s all fine
The three folds in the paper, perfectly clear
Except for a smudge that looks like tears
“Momma, I’m in hell here…”
(But still you’re learning …ain’t that right, burner)

Chorus

Verse Four
Mercifully back to the point pencil two
A little help is the remedy to see blind through
It was the planning once believed a curse
Keeping the wolves circling from making it worse
The only reason for the final verse
Some things once seen as done badly
Change here when the little girl calls boy Daddy
Amazing how decisions make boys grow up quick
Finally seeing a woman instead of some trick
Even in the despise on this child thoughts click
There was once a prodigal, once lost at the brink
Simple Peter, a savior cannot let beloved sink
A disjointed happy ending to a story
As a fable to guide and teach if only
“If you need my help, here I’ll be)
(But still we close the tome and finish these letters home)

Chorus



Letters Home
Lieu Fatale; Lucius Black
"Three Coke" Charles: The Dawn
C. Lamon; L. Powell

The Connect, Pt. 2

I am going to tell you something you should know already: Savannah, GA is a talented city. Now bear in mind I'm NOT saying that Savannah is the new Atlanta or anything like that. What I'm saying is that talent in Georgia is not strictly limited to the Atlanta area. Case in point, me. Another of the city's beacons of light...this guy.



I've known this man, J.L. Manning (or J.Laurent), since elementary school. A long time, really. We've gone to the same school since graduation. It struck me as odd that we both being engrossed in different aspects of music (in addition to our pursuits of higher education) that we hadn't worked on something together in that realm before. Here now we're doing just that. As we've discussed, he's producing my first mixtape (YERP!) and I'm really excited. There is also the plan to put out a track by the beginning of September so stay tuned. Our FIRST official collaboration is a song I penned recently from one of his beats. A wonderful track called "I'm Movin' On".

SHAMELESS PLUG: If you want to check out the production of J. Laurent, please stop whatever you're doing and hit up http://www.reverbnation.com/JLaurent. Yerp.

Here's a snippet of the lyrics:

Alleviate me from your thoughts so easily
Like the love days was sickness, coughs and measly
Mind games pushed up to a new mind frame
Of ascensions past you and the tensions of the same
Sort of nonsense, the explanation was like gibberish
Later on your body’s gonna scream for mine as last wish
For the way the curves met, lost within the deep sets
All you got for company now-bitter regret
Bets on the double down that I was still the willing clown
Dancing in the three rings sing
Stars falling down
Where your words left shards
Queen of the discards
This card was foolish enough
Threw in the trump card
I was thinking of a paradigm
Epiphany to the crime
Losing lust after your taste and your design
Maybe all the nights are gone
Maybe it’s a better dawn
Whatever the case may be, I’m moving on

The Connect, Pt. 1

Now you all know my close association with Lieu Fatale. I say close in the sense that I consider her something of a genius and a good friend. Recently one of her friends added me here on the Book of Faces. Young lady by the name of Rachael "Rai" Gethers.





Suffice to say, after a few conversations and a reading of some fire she wrote I came to a conclusion: This girl is mad talented. The other night while in the midsts of one of those exchanges, we started scribbling. It's usually what happens when you put two writers together. She had already posted it on her page so I thought I should do the same. **NOTE:** If you read my notes consistently, you know that the italics represent the female voice whereas the bold is the representation of the male speaker. The same is true here. May I present...



COMPLETE

Let’s go away to space so we can witness
Thirty-two sunrises
And thirty-two sunsets every day
Who's flying, you or I?
We both are
Sounds like a worthwhile trip
What's next after our two thirty-twos?
Return the earth and live life
Just me and you
In the places where nightfall
And the day tumble down, peacefully complete
Space was just an assessment
Passed with flying comets and shooting stars.
Welcome to Mars
Nightfall and day tumble down, in sync
Complete
Almost like it both were compliments to the other
Twisted sweetly around in symbiotic existence
Amongst falling stars
All ours
Endlessly touching
Suns, galaxies, each other
She’s sunbeams
He's thunder
On earth they're made for one another
His sound is for her light
Her blaze intensifies his timbre
Deafening
Blinding
Great and terrible all the same
Terrible that something like this had never existed
Great
So great because now it does
Now more than ever, before this collision of power
One can see a great work of love
An act of kindness so bizarre that...
...that words fail
Those syllables so powerful
Falter
At the altar
That alters them, makes them power
Energy immortal
Amaranthine
Three words
Three syllables that never fail.
That live as immortal as they
Gasoline
Propane
They fuel their power, their desire
Blooming like a flower
A flower born of her sun
Cooled in his starlit shad
Perfectly
A true symbol of the three
Words
Syllables
Unfailing, enduring
And more beautiful than the word itself
So in sync
Nightfall and day tumble down as one
Complete
Just
So
Complete



Complete
The Equal Opposites
Lucius Black; RaiGee
R. Gethers; L. Powell

A cunning linguist...

Often times I strive to say things in a way that is both clever as well as tasteful. I am proud to say that most of the time that has worked. Through a considerable degree of eloquence and skill I have been able to talk on subjects that normally are taboo or not really spoken out loud too often. By way of an example:

• For my first mixtape The Illest Alive I wrote two songs on two albeit intersting subjects. "Greatest Ever" was a song about a young man being caught in the act of masturbation. The other "Kiss, Never Tell" spoke of a physical affair between mother and son.


• My last album Dirtyfoot's :FIN@LE had a song tainted with the incestous (i.e "Sin For The Lavender"). I also delved into homosexuality among females ever so slightly as well with the song "None Understanding"

I have also been pretty prolific on the subject of SEX. Some of those creations have been quite possibly brilliant and are favorites. Again, by way of an example:

• "Tripping Wet"


• "Naomi"


• "Dancing Flame"


• "Almost And Maybe"

All this is said to make a point or rather a segue. This segue...

For a while people in general were (for lack of a better word) ashamed of giving oral sex, particularly cunnilingus. You'd hear that garbage, dudes talking some such shit about "I don't eat..." or whatever hackneyed line was popular. Oddly enough females went through a similar thing, most times with fellatio being equated with being a whore. Nowadays given the climate of media (i.e. television, movies, and music) it has suddenly become more blasé and vocal about the subject. Between neighbors being well versed in what your name is to putting things on sideburns and soda cans disappearing in mouths, it's become a lot more acceptable. It's with that in mind that I submit my latest work.






A female friend of mine once told me that in order to tell that you're satisfying your lover, one should pay attention to the body as opposed to the sounds (although they are wonderful). So if her back is curving, yielding that loving arch YOU MUST be doing the right thing. Hence the song.


Loving Arches

Sound FX1
Approaching climax, moans, grunts, squeals, etc.

Verse One
It was enough
A distraction, even
To a point when thoughts were irrelevant
And nothing mattered but the feeling
Every destination from temple to toes was reeling
Ten close gripped soft cotton to hold back screams
Eyes tight shut daring to awake from dreams
No prayers still His name was constant
At increased rates and frequency
Muscles tense not from pain but pleasure
Pausing is the last thing on either mind
Only continuation, nothing else
The scene crescendos, the stage grows dark
When she gives him her loving arch

Sound FX1

Verse Two
It was enough
A distraction, even
Into territories where all else was minutia
Superseded by the sensation
And the arrival at that destination
Raven crowns seek a soft place to fall
Inhales and exhales falter and stall
Of the same years yet Daddy is the name
Between moments of uttered noises and sounds
Music like no other made, perfect in hearing
Encouragement to keep up the actions
Without cease for it no longer exists
The scene crescendos, two hit the mark
Then she gives him her loving arch

Sound FX1

Verse Three
It was enough
A distraction, even
Here where the wildest things are
Where there is merely the consciousness
And the pair, one giving the other bless
Aorta pieces pound louder than percussion
Tongues across lips offer no discussions
Disregard better and insisting upon the best
As the tricks and moves prove the point
Beyond happiness, beyond ecstasy
Maybe euphoria or aphrodisia
Whatever the case it made no efforts to slow
The scene crescendos, the places explodes from spark
Again she gives him her loving arch

Sound FX2
Woman climaxes



Loving Arches
Lucius Black
"Three Coke" Charles: The Dawn
L. Powell

SLAVE

Gustav Graves: You see, I have a gift. An instinct for sensing people's weaknesses. Yours is women. Hers and mine are winning, whatever the cost. So when I arranged for that fatal overdose for the true victor at Sydney, I won myself my very own MI6 agent, using everthing at my disposal - her brains, her talent, even her sex.

James Bond: The coldest weapon of all.

ANYTHING can be a weapon or a method of control if you know what you're doing. Your words, for example, could break someone's spirit and in some cases that kind of emotional distress can manifest itself in physical maladies. Obviously physical abuse is a self-explanatory method of controlling a person, keeping them afraid and in line. But one that is just as dangerous can be sex. In your view of things you could be having that Drake type intercourse ("Best I Ever Had"), unaware that your significant other is using that insanely pleasurable act to keep you in the place where they want you. This particular post is about just that.



Hurdy-Gurdy Lilting

Male VO
We deal in power. We deal in perception. We cannot prosper nor long endure if we are perceived to be…dancing to the music of a hurdy-gurdy.

Hurdy-gurdy music plays

Verse One
Wind the crank, skank
I’m the turn key you’re robbing
Rather robin red breast in cages
For the subtle rages
Blake broken when fingers turn pages
To the chapter written
Openly smitten by seductive wares
That took faculties with no class
Crass to even consider being bitter
When hands grip an ass
A fool making donkeys of stranded, Circe
Curse be the lack of focus in I
When eyes blink then shudder
Heart minus syllables stutter
Murmur and mutter at the change
When it’s strange
There is no drive since there’s no pedal
Nothing left to steel since you took my medal
And my metal and the mettle of men
Who knew honor to the first sound
Before a switch and a bitch, a complaint
Bozo men and left boys clowned
Tapped out submission after double downs
Only to remain the way she left
Bereft of the struggle so beautiful, right?
The plight of the phoenix, remixed
Worst the second time around again
Then shallow scars made my Shalamar
Get ready…tonight, since I remember your touch
Not Midas, I paid mine, probably go dutch
Or Dutch to break beats or even dikes
Finger left in it, only words are damn and dam, if you like

Male VO

Hurdy-gurdy music plays

Verse Two
Flip the switch, bitch
Turn off lights for teddy bears and Pendergrass
In the grass snake sort of lady
Constant warring like Beatty
Lumberjack the pirate when shiver timbers, matey
Cap’n crunch me down low
Past praying ho to the bottom
Masters bait, feeling themselves much
Touch life with a wilting finger
Bittersweet like some Cranberries
When you make me linger
Rest in you lap where no light escapes
She rapes attention, leaving deficit
Deaf is this when your sound is only heard
In love and to hate with the absurd
When your loving drains the seed
In your greed
Nothing left to shoot off, dear
The guttural fuck whispers are only here
And all the trained drums are made to hear
They’re over there, bodies making out
Then in again with a life threatening stroke
Only doom in the room, rude intruder
Pharaoh whips and makes Moses of boys
Broken backed Jake of no Gomorrah sister
In puddles on the floor, dripping
Slipping into control so vodka and Absolut, right?
The call of max pain, another refrain
Hurting in those mean old Harlem Blues
She was my sinner, my Cynda
Clark bent on this Benecourt
No Occam, didn’t shave, she’s the razor
Or raiser who raises my tower
With her flower, sniff, high off papi and poppy

the EVOLUTION: desire the Streetcar

In writing a character such as Tara Kelly I drew aspects of her from many of the females that I know. That list includes ex-girlfriends, friends, acquaintances, random females, one time encounters, and those young women I count as closer than close. By way of an example:

1. One of my closest friends, Janae was the inspiration behind the marvelous singing voice has. Having heard her sing after alternate time of hearing her sing in a mock offkey way over the phone, actually hearing her actual talent made me include that detail to Tara.


2. Another friend, Angelica, is the reason behind the eyes that Tara has. Numerous times I have said that she has nice eyes, a kind of hazel-light brown deal. Her eye stand out to me so when I wrote Tara I had to give her an eye color that stood out similarly to Angelica's. This is why Tara is the ONLY character (exception being her daughters) with that eye color.


3. A lot if not most of my female friends have a measure of beauty and sex appeal so more likely than not, if you're a female friend of mine some of you went into Tara's inception.

With her I deemed that she should start out as a less than popular character in her beginnings. So I put her in as a temptation to Lucius Black and essentially a rival with Aisha Washington for Lucius' affection. As the story progresses we will see how this triangle plays out. For now, on to her original introduction.









Immaculate Solo
(As promised Lucius Black and Maxwell Riley conduct interviews for new people to work at Dirtyfoot’s, with the result of the club being busy for a large part of the day. For the largest part of the day the two partners are wholly unimpressed. All that changes as four people walk into Dirtyfoot’s.)

Lucius-(without looking up) Name?

Man-Quinton G. Ziegler…but everyone calls me GQ.

Riley- Forgive us if we don’t join the masses. Now what exactly is your talent?

Quinton-I’m glad you asked.

(At that he pulls a beautiful black and gold electric guitar from its case and plugs in the amp; still, despite the beauty of the guitar, they still seem unimpressed.)

Lucius-So your talent is showmanship?

Riley-(to Lucius) Or better yet guitar removal.

(Both start laughing until Quinton starts to play an amazing rendition of Seals and Crofts’ “Summer Breeze” during which he makes his guitar wail and whine as well as the two musicians who first played it. Lucius and Riley are floored by his talent but their faces don’t show it; for a moment, Quinton looks crestfallen.)

Riley-GQ, is it?

Quinton-Yes, sir.

Riley-You start on Monday. Go talk to the music coordinator Torian Kennedy. He will give you your schedule.

Lucius-Thank you and welcome to Dirtyfoot’s. Next?

(The next is also a male but this one in particular has a cocky swagger and a smug look to match; both Lucius and Riley regard him with a small degree of dislike.)

Riley-Name?

Man-Trenton Masters.

Lucius -Why does your name sound familiar?

Trenton-You might know my half-sister, Donna. She recommended that I come here and audition.

Riley-Donna’s your sister? Okay, I trust her judgment as far as talent but the real question is what kind of talent are we talking about?

Trenton-Give me a beat.

Lucius-GQ, come here.

Quinton-Yes, Mr. Black?

Lucius-Play “Summer Breeze” on your guitar for me, please. Loop the chorus.

Quinton-Gotcha, boss.

(GQ plays the requested song and Trent begins to string words together in a albeit brief but effective tapestry.)

Trenton-Madly I run to the summers so hot and bothered with kisses, insanity
Lost are the foolish autumn notions and winter thoughts of my vanity
All I need now more than oxygen needs fire and versa vice
One season seasoned with the summer breeze may just suffice
Moreover maybe, baby I need you like heartless needs unkind
Summer breeze makes me feels fine, blowing through the jasmine in my mind

Riley-I see talent runs in the family.

Trenton-Thanks, sir.

Lucius-You’re in. You start on Monday. Get some of your stuff together. I want it on point for Monday night.

Trenton-It will be. I won’t disappoint.

Riley-We’re sure of that. Next?

(The next person to enter is a young woman who has a soft type of beauty that seems to be rare these days; with that beauty is a certain familiarity. A few heads turns as she walks and stands in front of the two partners.)

Lucius-How old are you?

Woman-I’m nineteen years old.

Riley-Okay, name?

Woman-Kelly Lauren McCloud.

Lucius-Say again?

Kelly-Kelly Lauren McCloud.

Riley-You look oddly familiar…why do you look oddly familiar?

Kelly -Well, people say I look like my brother…he’s dead though.

Riley-How did he die?

Kelly-Killed last year in Hollyville by one Charles Williams.

Riley-(aside) She means Vegas. (to Kelly) That means your Douglas McCloud’s sister?!?

Kelly-Yes, sir, Mr. Riley. Incidentally enough how‘re Veronica and the baby? Tell her I said hello.

Riley-Great and I will.

Lucius-What’s your talent?

Kelly -I sing.

Lucius-Sing a little something.

(And she sings in a voice that sounds like it should not rightly belong to her; it is beautiful and mournful all at the same time. Both partners try hard to hid the tears in their eyes.)

Both -You’re hired

Kelly-Thanks, guys. I didn’t think I had the talent to work here.

(She walks off leaving the surrounding listeners in awe. Lucius speaks first after she walks off.)

Lucius-Modest one, isn’t she?

Riley-Truly that. Next?

(Upon utterance of these words the next potential walks in and heads of turn as she does so. The young woman who walks into Dirtyfoot’s seems to fill the place with a beauty that was absolute and blinding. Both partners look at her but with different thoughts in mind.)

Riley-(aside) Someone that beautiful means trouble.

Lucius-(aside) Wow…she’s absolutely beautiful.

(Riley is the first to regain his faculties having not first lost them and begins with the interview.)

Riley-Name, please.

Woman-Tara Kelly.

Lucius-Little Tara?!? Wow, you grew up…well.

Tara-(laughs)Thank you, Lucius.

Riley-Growing up aside, what is your talent, Miss Kelly?

Tara-I can sing. Listen to this.

(And in that moment all the heads that had previously snapped back into place after the curvaceous form of Tara Kelly jerk again as she sings her heart out and melts every male there as if a hot knife going through butter.)

Both-You’re hired.

Tara-(laughs) Thank you both for this opportunity….I can’t wait to tell Dana.

Riley-Before you do we need to meet with you and introduce you to the staff. Hang back for like five minutes.

Tara -Yes, sir.

(Tara walks off and necks break and crane in her wake similarly to her entrance; after her departure the two owners converse.)

Riley-I think we made some good choices today, Lucius.

Lucius-Me, too..especially Tara.

Riley-(sighs) As talented as she is she is too beautiful to not cause drama. I think we need to sever ties as soon as possible or watch her closely.

Lucius-We cannot just fire someone because they happen to be beautiful and over an unfounded suspicion, Max.

Riley-Nor can we keep her around because she has a perfect shape and a round ass, Lucius. We’re running a business not directing a rap video.

Lucius-If you, if we can give Douglas McCloud the benefit of the doubt we can give her a chance, Max.

Riley-Okay but the minute a line is crossed that’s it.

Lucius-Agreed.

(But as the two partners shake hands and agree their minds do not.)

Male VO
Into the mind of Maxwell Riley

Verse One
(spoken)
Trust unknown beauty seems to be foolish for genius society
All other sexually punch drunk as one remains the only one with a measure of sobriety
So as lupine teeth in male mouths hound the curves of her body form fantastic
It is left to the pragmatist to see in the flesh the values of the plastic
Neither doubts nor can it be refuted that she is glorious in temporal physical notions
The fear is that all will be susceptible to her love lust potions
But this is not said for everyone for these concerns are not regards dearly for them
My partner, brother, and friend-these worries are all to him
Those eyes glowed red and for brief moment temptress eyes flashed green
The sheer oddest and strangest thing these ocular muscles have ever seen
But maybe all this is unfounded; maybe he is smart enough and already knows
Yet even now so falls he deeper into chords sensual sweet of the immaculate solo

Chorus
This be the immaculate solo
As man’s sinful nature hopes for a yes when all of her screams no
What will a friend do as he sees comrades dance to the sultry tune?
Unaware even that it will spell his doom just that soon

Male VO
Into the mind of Lucius Black

Verse Two
(spoken)
Time and times made a little girl into a goddess in human guise and I cannot help but stare
Despite and consider the fact that I have unto myself a chanteuse solitaire
Even as that lives in my heart as a talisman to keep the stray dog in me to stray into unknown territories
The dog in me longs to wolf stalk goddess steps into a temptation story
Maybe this brother shaking hand is more correct in this situation than I could hope to ever be
But eyes entrance upon first sight so all else falls into lust at what they first see
Hunger for something beyond the realm of dinner, ravenous and gluttonous for her perfect skin
Never will this appetite of its type be satisfied until all of his touches this queen among women
No, there is love already set out for me, flawless diamond emotion that give life lights
Yes, just once though, all solo single needs solitaire is just one night
To dance with the devil in pale moonlights and taste flames of her body flavors
Yet this is the one thing, one solo that I cannot savor

Chorus

(And the thoughts that are all their own are put aside as the two partners stand before their staff, new and old alike, and talk to them.)

Riley-To those people who worked here before: it's good to have you here; to those new employees, welcome. As you may or may not already know my name is Maxwell Riley and (pointing in the direction of Lucius)this is my partner Lucius Black. We are the new co-owners of Dirtyfoot's. We have basically the same rules as our predecessor R. Tobias Slade, Sr.; his rule was simple: come here to work and leave all your drama at home. Everyone...is that understood?

(All present murmur assent; satisfied, Riley nods his head at Lucius so that he can say his piece.)

Lucius-(to Riley) Thank you, Max. (to everyone) Let me introduce the staff to you. This is Trevor Walker, or T.J. as we call him, our trusted advisor/stage manager/ janitor.

Quinton-Janitor?

T.J.-Place has gotta be clean, son.

(All chuckle.)

Lucius-Our musical coordinator Torian Kennedy, bartender/performer Willie Leroy, resident artist/occasional performer Jonathan Riley, poet Donna Graham, performer Joe Black, waitresses/performers Dana Kelly and Toni Casey, emcee Jamal Bonner, or Boney J.

(As their name is called each person stands up to acknowledge Lucius's introduction.)

Lucius-And finally performers Aisha Washington and Lena Jones. All these people make up the unique fabric that is Dirtyfoot's. Everyone has a dream, something that they want. (points to stage) This stage, this place is the first step. I don't expect anyone to stay here forever because this place is a launching ground for whatever desires and fantasies we have. I said it before and I'll say it again: Dirtyfoot’s is the best place for each of us to find what is we really want. I hope your tenure here helps you find that. See you all on Monday.

(All clap and disperse; Tara looks back and winks at Lucius who smiles and thinks those thoughts again. But someone speaking to him tears him away.)

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.)

Riley-Jonathan!!

Jonathan-Huh? Oh, hey Max.

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

Jonathan-OK…(sighs) let’s go.