Skip to main content

An Original

This is but a sample of this story.  The complete version is available in my print collection Man Against the Future.  From there, you can order signed copies, or buy it for the Kindle or the Nook.

Her back was turned to him, so she couldn't see him when he came in. She couldn't see that he was bleeding in half a dozen places, bruised and battered, grass stains on his clothes. The sounds of his panting were enough to turn her attention toward him.

She gasped when she saw the state of him, but didn't have time to ask what was wrong, he began for her, "Do you love me?"

"Of course."

"Really... No matter what happened?"

She pulled a bit of shrubbery from his hair and gently put her hand on his face, trying to reassure him. "Of course I love you. Nothing could ever change that."

"I hope so," he said as he collapsed into a chair, almost in tears.

"What's wrong?" Her voice quivered with concern.

"What if I told you something..." He could barely continue. "Something about me. And it would change everything. Would you still love me?"

"Will you please just tell me what happened?"

"I'm serious. Will things change?"

"How can I know that if you won't tell me what the problem is?"

"It's not so easy, and I'm not all that sure..." He stopped, trying to catch his breath. "It's all so much of a shock, I don't even know what..."

With a quiet, loving tone, she shushed him, trying her hardest to calm him. He was shaking beneath her touch.

"Just tell me what the matter is," she whispered delicately in his ear, "and I promise that it'll all be okay."

He looked up at her, took a breath, and--

The complete version is available in my print collection Man Against the Future.  From there, you can order signed copies, or buy it for the Kindle or the Nook.


Comments

Unknown said…
Nice story, Swank! I like the harsh transition in the middle of the story. Liquor in the attorney's office... is this period?

I'm blogging again: http://popculturemaiden.com/
Aaron said…
This is good, I too like the middle, and how one scene is nested within another. I like it, good work.

I write (very) short stories too, you can find them at aaronheinemann.blogspot.com
Unknown said…
I don't know when it's set... But I have Scotch in my desk...
Rockyourteeth said…
This is awesome. I need to go back and read all of your short stories.

I'm doing a similar thing on my blog, except I'm just writing a full, longer story, where each post is more like a chapter (but really short). My blog is http://synthandissorm.blogspot.com/ if you wanna check it out.
I loved the story! This is the first time ive read your blog - I;m a new blogger, I write short stories and i wanted to read someone elses. I love the sci-fi element. Totally didnt see the clone thing coming!
Gladdys Kathy said…
This is some interesting stuff. Keep it up.

come read my diary:

gladdyskathydiary.blogspot.com/
L.E. said…
Definately qualifies as epic!
Lovin' it.
The energy get's my adrenaline going.

http://lestoryspace.blogspot.com/

Popular posts from this blog

Anatomy of a Scene - City Lights

We're going to break down another scene this week, and it's one of my favorites in cinema history. It comes from the ending of City Lights by Charlie Chaplin, which I think is the greatest romantic comedy ever made.  It's a touching film from 1931 and I would make it mandatory viewing for anyone who wants to learn to tell a story. The scene we're going to be breaking down comes from the very end of the film, so if you haven't seen it, I don't want to spoil it for you. Go watch the film. You can rent it for $3.99 in HD on Amazon  or for free on Hulu with a free trial or plus subscription. You should just buy the Blu-ray, though. You're going to want to revisit it. For those of you familiar with the movie, or for those of you who are going to ignore my pleas to watch it and go ahead with this post anyway, I'm going to set this clip up a bit before you watch it. City Lights tells the story of Chaplin's Tramp and how he falls in lov

Anatomy of a Scene: The Third Man

It's time again to break down a classic scene. One that's well-written and, in my view, a fine example of excellent craft. I've done some of these articles from books (like The End of the Affair   and Starship Troopers ) and other movies (like Citizen Kane , City Lights , Raiders of the Lost Ark , and Butch Cassidy and the Sundance Kid ), but now it's time to take a look at a scene from The Third Man . It blends the best of Orson Welles (as he's in the film and drives this scene) and Graham Greene, who wrote this particular screenplay. Before we get to the scene, we need some context. The Third Man is a tale of the black market in Vienna, just after World War II. It's about a cheap, dime-store Western novelist named Holly Martins (played by Joseph Cotton) and his friend Harry Lime (Orson Welles.) Lime offered Martins a job in Vienna, so Martins leaves America and arrives, only to find that Harry Lime is dead. Penniless, without a friend or reason to be

The Missed Opportunities of Days Gone By

“Hello?” I said into the phone, accepting the call from a number I didn’t recognize. “Hey,” the feminine voice on the other replied, as though I should know the sound of her voice. At a loss, I said, “Can I help you?” “It’s Brooke.” Her name stopped me. It couldn’t possibly be her. We hadn’t spoken in years, a decade perhaps. “Brooke?” “Yeah, Brooke Baker. This is Mark, right?” Jesus Christ. It was her. “Yeah, it is Mark. Brooke. Wow. How are you? It’s been a long time since… well… since anything.” “I know.” “So, how are you doing?” “Okay, I suppose…” Her voice belied her words, though. Something was up. “I… It’s just been so long and I guess I wanted to hear your voice.” “I don’t think I had a number for you. Ever. I offered a couple of times, but…” “I was a brat back then.” And that’s how a random phone call turned into a two-and-a-half hour catch-up session. We spoke of everything under the sun: people we still knew, how different we were, h