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Terry Collett May 2015
You walk along the beach with the sand between and beneath your naked toes, the sun touching your skin, the slight breeze feeling your hair. You stop and stare at the sea, the sound of the waves on the shore, like an old man breathing and sighing. There are no ships today; the horizon is bare; empty. You remember walking along this beach with Giles, his hand in yours, the promises he made, the laughs you both had, the look in his eyes, that smile he had. You smile briefly, wipe your small hand across your lips, try to recall that kiss, gone. The sun is high in the sky, blue with hints of white in the horizon, the sea, the far off places long out of reach. If only I hadn’t found that **** letter, you muse darkly, breathing deeply, sensing the sea air, the sharpness of it, the chill on the lungs, if only you hadn’t seen the words of his betrayal, his words of love to another, her of all people, she who had befriended you. Lies. All of those lies, you muse, those bits of truth and lies together, the devil’s mix, the lying *****, him saying those things to her, and to you he says another, liars both of them. You walk on along the deserted beach, your toes scrunching into the sand, the grittiness between the toes, the sharpness underfoot. We made love over there, you tell yourself, indicating an area of rocks, a secret place you thought was yours and his, where he had uncovered you and under those stars, moon and evening breeze, had entered you. You close your eyes and wonder if he brought her here, made love to her in that place, did to her what he did to you. The possibility haunts you, hurts deeply, drives to walk closer to the edge of the sea and shore. You want the sea to take you; want the waves to swallow you up and spit you up some miles down the coast. A lifeless body, a floating bloated cadaver. But that takes a courage you lack, a courage you do not have, despite your hurt and pain, despite your inner anger. You wish you had not read the letter from his pocket, had not searched, had not seen it and opened up the envelope. If only you had remained in innocence of his betrayal, innocent of all that filth and lies. His words to you that morning, as he rose from bed, as his arms left your side, were so loving, so kind. Ceili, he said, Ceili, you are the morning of my day. Such words. Such words said. The sun is warm on your face, the breeze a little chillier now, the sea a bit wilder, the waves touching your feet, touching your toes. What price betrayal? What reward? You wander along the shore, the sea touching you as he had done, feeling your flesh, sensing your life blood, you stop, turn back, empty your mind, vacate, the you, the memory of loss, the life of betrayal.
Written in 2008.
Edna Sweetlove Feb 2015
Wee Angus McSporran, the world's most accurate marksman, is deployed  to Afghanistan and Iraq as a ****** in the Royal Scots Guards. In spite of his diminutive stature (4ft 8in), we see him skilfully shooting men, women and children by the score, convinced they are terrorists and a threat to our freedoms in the West. He becomes emotionally involved with the gigantic ginger-haired Pipe Sergeant-Major **** McKnob, the loudest piper in the British Army and a famous poofter. We see Angus and **** in some of the most explicit ******* love scenes ever shown in a mainstream movie (tastefully filmed in soft focus and sponsored by KY-Jelly).

When **** is blown to smithereens by a roadside bomb planted by American freelancers in order to implicate the Taliban, Wee Angus goes into deep depression and becomes obsessed with his skill as a ******, often shooting "allied" soldiers in so-called "blue on blue" friendly fire. After each shooting we see the image of the ghostly dead Sergeant-Major appear as in a dream, his kilt a-swirl and his pipes wailing a tragic dirge in scenes reminiscent of Braveheart.

When Wee Angus triumphantly notches up his 500th **** (including over 75 US military personnel and several important Afghan politicians), the British government decide it is time to withdraw him from active service. In order to gain patriotic press coverage in the run-up to a General Election in Britain, it is agreed that Wee Angus shall be awarded the Victoria Cross by HM the Queen.

We see Wee Angus, in full regimental uniform, marching up the Mall to Buckingham Palace to receive his medal, his telescopic-sighted ******'s rifle looming heavily on his childlike shoulder, being cheered on by crowds of thousands of wellwishers. Tragically, when he is crossing the road in front of the Palace, he does not hear a new environmentally friendly eco-diesel double-decker London Transport bus approaching (his hearing has been seriously impaired by the noise of battle) and he is mown down, his scream being amplified to eardrum-splitting levels of horror. The camera lingers lovingly on his crushed body and we see scenes of unimaginable grief in the crowds who have taken Wee Angus to their hearts. His lover, the strapping Pipe Sergeant-Major **** McKnob, appears as an angel and weeps by Wee Angus's squashed corpse.

In the final scene, reminiscent of the closing minutes of Slumdog Millionaire, the massed marching pipe bands of the Assembled Scots, Irish and Welsh Guards appear as if by magic and the entire crowd cast all inhibitions to the wind and indulge in a life-enhancing Highland Dance and Ceili around the Victoria Memorial facing Buckingham Palace. The film ends with a heart-breaking shot of the Queen coming out on the balcony in front of the Palace and having a fatal heart attack with the shock of what she sees before her. Prince Charles is seen gleefully rubbing his hands together in the background: at long last, he is King! *(end titles shown over a shot of him groping Camilla's naked sagging ****)
This is the first in my new series of Film Scripts for the 21st Century.
Terry Collett Mar 2014
When can I leave? Not yet.
When? When we’re sure, you won’t
Harm yourself anymore
Ceili. Harm myself? Yes,

Slit your wrists, try to hang
Yourself, take too many
Pills. An accident. Yes,
Maybe, but we need to

Be sure. Sure of what? That
You won’t do it again.
When can you be sure? That
Is up to you, Ceili.

How can I be sure? You
Will know. How will you know?
We are professionals,
We’ll know. Can you tell me

When? When what, honey? When
It’s time for me to go
And when I won’t do things
Like you said. Why don’t you

Go back to bed; you look
Tired. I can’t sleep; it’s
Those **** pills you gave me.
They’re sleeping pills, sweetie,

They ought to make you sleep.
They don’t work. Maybe you
Aren’t trying. I lost my
Baby. Yes, I know you

Did. My third. Yes, I read
That. My man beats me up.
Men can be creeps at times.
My pop did things to me.

When? When I was quite young.
Did you report it? No.
Why not? Scared. Why don’t you
Try to sleep, ceili, things

Will seem much brighter in
The morning. I hate bright
Mornings, they’re worse than nights.
God look at the ****** time.

What time is it now? Three.
That’s when my baby died.
The last one. I hate that
Hour. Do you want some

Hot chocolate? Can I
Have a cookie or two?
Sure you can. When can I
Leave? Not yet. When? When you

Stop asking when, that’s when.
POEM COMPOSED 2009.
Terry Collett Jul 2013
No child ought to see
Its mother battered;
It leaves behind to
Stew in mind the wrong
Impression. But young
Ceili did, all too
Often; her father’s
Fist through the tense air,
Almost unseen, yet
Captured by youthful
Eyes, keen to view, as

Young eyes are: the red
Bloodied mouth, the split
Lip, the blackened eye
The bruised jaw, the hurt
Huddled body on
The hard kitchen floor;
And if pushed to the
Back of the mind, it
Soon crawled out to scare
And torment her when

The lights went out, and
The high screams and shouts
Replayed themselves in
Her ears, over and
Over, like the stuck
Needle on that old
78 record
Her father played when
Drunk, of Joseph Locke,
As he sat in his
Chair that would go back
And forth and then rock,
Slow rock and slow rock.
poem composed in 2009.
Terry Collett May 2013
No child ought to see
Its mother battered;
It leaves behind to
Stew in mind the wrong
Impression. But young
Ceili did, all too
Often; her father’s
Fist through the tense air,
Almost unseen, yet
Captured by youthful
Eyes, keen to view, as

Young eyes are: the red
Bloodied mouth, the split
Lip, the blackened eye
The bruised jaw, the hurt
Huddled body on
The hard kitchen floor;
And if pushed to the
Back of the mind, it
Soon crawled out to scare
And torment her when

The lights went out, and
The high screams and shouts
Replayed themselves in
Her ears, over and
Over, like the stuck
Needle on that old
78 record
Her father played when
Drunk, of Joseph Locke,
As he sat in his
Chair that would go back
And forth and then rock,
Slow rock and slow rock.
POEM COMPOSED IN 2009
Mango VanRasp Apr 2021
An antidote to ennui,
My friends of age, perchance
With hands held high and feet askew
Take note when old men dance.

Cast off care and bend thy knee
O, thou poetic host,
Students of Dylan, Derlith, Frost
And Bill, the Holy Ghosts.

When banjos bang the Bluegrass beat
With rhythm ye entranced
Release thy souls thus freed my friends
Step high in old men's dance.

Double shuffle, heal and toe
Ceili, reel or clog
Kilted, combed, go Strip the Willow
And dance the epilogue.

With children, friends or wife, embraced,
Or maiden once romanced
Or all alone with heart, my friends,
Rejoice when old men dance.


Mango VanRasp
11/2/19

— The End —