Walking home one winters night, slightly the worse from drink, I found myself lost in a howling blizzard, my eyes barely able to see my hands outstretched in front of me, such was the ferocity of the storm and the thickness of the snow swirling around me. Purely by chance, I found myself leaning against a door, it could have been the door of a humble cottage, the door of a mansion, or the door of a stable; such was the strength of the storm and the density of the snow as to obscure that which was not directly in front of my eyes.
I started hammering at the door, hoping against hope that the house ( or whatever else it was ) was occupied and that maybe the occupants ( if there was any ) would allow me to shelter until the storm had passed. After knocking, for what seemed like an awful long time, the door crept open an inch or so, allowing a glimmer of light to sneak out into the gloom of the storm. Without waiting or giving whoever had opened the door the chance to say anything, I fell forward, landing across the threshold on my hands and knees.
Scrambling to my feet, I found myself looking at a small, wizened old man, a lantern in one hand and leaning on a walking stick with the other. But the first thing I noticed after seeing this old man, was the heat, and the heat was coming from a huge log fire, blazing and spitting away in a massive fireplace.
I began to explain my circumstances to the old man, but he had already turned away and was throwing closed the bolts on the stout door, sealing us in against the wrath of the storm and the fury of the night.
I began to take in my surroundings; we were in a massive, open room, with a flagstone floor, a large table under one shuttered window, a smaller table, maybe a writing desk, at the other shuttered window. In one corner of the room, to the right of the stone fireplace, was a bed, the clothes thrown back, ( my rescuer had obviously been awakened by my banging on his door ), and on each side of the great fire, two very comfortable looking arm chairs, and the wall to the left of the fire, was covered floor to ceiling with shelves filled to bursting with massive tomes and leather bound volumes.
Turning to my as yet unknown host, I introduced myself.
” Sorry for banging on you door like this “ , I said, “ but the storm is blowing hard out there and I am completely lost ” .
I offered him my hand, “ Tony Hutchins “, I introduced myself. He ignored my proffered hand and instead went and stood before the log fire, beckoning me to do likewise.
“ My name is Hector Wayne “, he said, “ and I’m sorry, but I do not shake hands with anybody, I suffer from a rare condition that forbids me from doing so”. So saying, he held up two gloved hands for me to see. “ You are not in any danger “. he said, “ Even though the condition is highly contagious, you are in no danger as long as you do not come into contact with my hands . Please, sit and warm yourself “. I sat down, the heat from the fire, a warm glow around me, instantly banishing the cold that had engulfed me outside in the blizzard.
My host we over to a press I had not noticed before, at the bottom of his bed and, after rummaging for a moment, returned with a bottle and two glasses. He put the glasses on the mantle and proceeded to pour a generous amount of golden liqueur into each glass.
Handing me a glass of the golden liquid he said “ Fear not, the brandy is not contaminated and you are perfectly safe as long as my gloves remain on. Drink, it will banish the chill from your bones “.
I raised the glass to my lips and drank of the fiery liquid. It did indeed warm me to my bones.Looking about me, it stuck me, for the first time , how ancient and antique my surroundings were. Indeed, nothing of the rooms furniture and fixtures seemed to be of this century. There were no doors other than the one I had entered through, making this the only room in the house.
He must have seen my confusion, for he said, “ I have all I need for my comfort in this room, my toilet need are out the back. I have my books and that is all I require to keep me occupied. My needs are simple ones. Finish your brandy please, and I will get you a rug, that you may rest here until the blizzard has passed, and then you can be on your way.
In half an hour I was dozing by the fire, my host having retired to his bed.
I don’t know how long I was sleeping, but something woke me with at start and looking around I saw my host bending over me, his crazy eyes protruding madly from his eye sockets, his mouth open, his stained teeth, large and pointed, almost like fangs, drool dribbling from his beastly mouth. But the worst part, his hands, long nails like talons, encrusted in dark, dried blood and God knows what other type of vile substance, were reaching for my throat.
I jumped from the chair, seizing a burning log from the fire, my hands crying out in agony, I tossed the burning stick into his face, and running for the door, drawing back the bolts and tumbling out into the snow. I did not wait to see if I was being followed, I stumbled down a snow covered path, the wind had eased and the snow was no longer falling as I went through the gate that had led me here.
I paused, catching my breath and looked back and, this is crazy, all I could see was the ruins of a small dwelling, the roof had caved in a long time ago, and I could see by the exposed part of the walls, that they were black, as if a great fire had burned the place down. The house, what was left of it, was surrounded by crooked grave stones and, even through it was covered by a blanket of snow, it was obvious the place was in a sad state of neglect.
With the storm over, I could see my way home and promptly set off in that direction.
The next day was Sunday, and after service I waited to talk to the parish priest, I thought, me not being a local, a runner, as we were called, the priest might be able to shed some light on what had befallen me the previous night. And the story he told me still gives me nightmares.
The old house belonged to a man named Wayne. I already knew this, but what the Priest added, that Wayne was known locally as Thighe Lyons, and that some twenty corpses were found in and around his house, the fresher corpses revealing they had been strangled, throats ripped out and partly eaten. Indeed, the man who discovered this had been lucky to escape with his life. This was many, many years ago, there was no constabulary in the village, and a gang of vigilantes had formed, and went marching off to Thigey’s home. Once there theybroke down the door, captured Thigey and tied him up, divested him him of his trademark gloves, and when the gloves were removed, everyone could see the monster he truly was. They then tied him to an armchair and set the house on fire. “ And you must remember “, said the Priest, “ the house was surrounded, vigilantes formed a ring around the house, making certain that, by some miracle, Thigey did not sneak out. After the fire had burnt itself out and had time to cool off a bit, they went in to witness what was left of the monster and found NOTHING. Not a trace of Thigey was to be found, not even a bone. and some say he still lives here, among the grave stones, surrounded by his victims, and only appears when the wind is blowing and the snow is falling, some say he is still looking for fresh victims, new blood and flesh for him to dine on, because that is the way the night was, a blizzard was blowing, when his house was burnt down, with him inside.“
Tribbing, scissoring, lesbians, Ymir being hot as fuck :)
"Can I kiss you?“
Historia glanced up at the sudden voice, looking away from
the map spread on the table for the first time in a good half-hour. She and her
strange, dark guest were the only ones left in the ruined little café, the
lantern on the table acting as their only source of light, unsteady though it
was. For a moment, Historia’s eyes roved, curious and hungry. It had been too
long since she’d eaten last.
When she gave no refusal, the wild woman smirked, asking, "Is
that a yes?”
She wasn’t the least bit familiar, Historia decided, all
freckled golden skin and ebony hair and brilliant amber eyes. She had taken the
other seat at the little table without even bothering to ask. A bold move. She
wasn’t the sort you could forget.
Furrowing her brow, Historia asked, “Have we met?”
The brunette’s wild smirk sent a shiver down Historia’s
spine, and she seemed to be fully aware of it. “No.” She said it so
candidly… “I just like your face.”
Producers Craig Zadan and Neil Meron today announced 13 key members of the production team for the 87th Academy Awards, which will air live on Oscar Sunday, February 22, 2015, on ABC.
Director Hamish Hamilton returns to the show for the third time, after receiving an Emmy nomination for his work on last year’s telecast. He made his Oscar debut with the 82nd Academy Awards telecast in 2010. Hamilton has directed many other celebrated live televised events, including the 2014 Super Bowl halftime show featuring Bruno Mars, the 2013 Super Bowl halftime show featuring Beyoncé, the 2013 “MTV Video Music Awards” and the opening ceremonies of the 2012 London Olympics, for which he also received an Emmy nomination. He shared a 2011 Peabody Award for the fifth annual “CNN Heroes: An All-Star Tribute” and a 2003 Grammy Award nomination for the musical special “Robbie Williams – Live at the Albert.”
Production designer Derek McLane has been part of both Oscar shows that Zadan and Meron have produced. He won a 2014 Emmy for his production design of the 86th Academy Awards, and earned a nomination in the same category the previous year. McLane also has designed sets for numerous acclaimed Broadway and Off-Broadway shows; he has received four Tony Award nominations and won the award in 2009 for his work on “33 Variations.” McLane’s designs can currently be seen in “Beautiful: The Carole King Musical.” His other Broadway credits include “The Heiress,” “Nice Work If You Can Get It,” “Gore Vidal’s The Best Man,” “Follies,” “Anything Goes,” “Bengal Tiger at the Baghdad Zoo,” “Grease” and “I Am My Own Wife.” McLane’s television credits include “The Sound of Music Live!” which was executive produced by Zadan and Meron.
Choreographer Rob Ashford has worked on the last two Oscar telecasts as well as the 81st Academy Awards show, for which he won an Emmy. He was recently nominated for a Directors Guild Award for his work on “The Sound of Music Live!” Ashford has been nominated for eight Tony Awards® and won for Best Choreography in 2002 for “Thoroughly Modern Millie.” His other Broadway choreography credits include “The Wedding Singer,” “Curtains,” “Cry-Baby,” “Evita” and “Cat on a Hot Tin Roof.” He also has served as choreographer on such feature films as “A Million Ways to Die in the West” and “Cinderella,” due out next year.
Writer, producer and director Greg Berlanti joins the team as head writer for his first Oscars telecast. Berlanti’s writing credits include the television series “The Flash,” “Arrow,” “Everwood” and “Dawson’s Creek,” and the feature films “Wrath of the Titans” and “Green Lantern.” Berlanti also has executive produced such series as “The Mysteries of Laura” and “Brothers & Sisters” as well as the miniseries “Political Animals,” for which he received an Emmy nomination. His directing credits include the 2010 film “Life as We Know It.”
Zadan and Meron have brought in Michael Green, Seth Grahame-Smith and Andrew Kreisberg to complete the writing staff. Green is a writer and producer whose writing credits include the feature film “Green Lantern” and the television series “Everwood” and “Heroes.” Grahame-Smith is a writer and producer known for his work on the television series “The Hard Times of RJ Berger” and such films as “Dark Shadows” and “Abraham Lincoln: Vampire Hunter.” Kreisberg, a longtime writer and producer, has written episodes of “The Simpsons,” “Boston Legal,” “Fringe,” “Arrow” and “The Flash.”
Music director Stephen Oremus makes his Oscar debut this year. A music director and Tony Award-winning orchestrator, he has worked on Broadway shows including “Avenue Q,” “Wicked,” “All Shook Up,” “9 to 5,” “The Book of Mormon” and “Kinky Boots.” The latter two shows, which are still running, earned him 2011 and 2013 Tony Awards for Best Orchestration. Oremus also served as the orchestra conductor and music director for Rufus Wainwright’s Carnegie Hall and London Palladium tributes to Judy Garland in 2006 and 2007. He did his first feature film work on 2011’s “Shame,” arranging and producing “New York, New York,” which was sung by actress Carey Mulligan.
Costume designer Julie Weiss returns to the show after working on the 85th and 86th Academy Awards. Weiss has designed costumes for more than 40 feature films, and received Oscar nominations for her work on “12 Monkeys” and “Frida.” Her other feature credits include “Steel Magnolias,” “Searching for Bobby Fischer” “Fear and Loathing in Las Vegas,” “A Simple Plan,” “American Beauty,” “Auto Focus,” “Bobby,” “Blades of Glory” and “Hitchcock.” Weiss earned Emmys for her work on the TV movie “The Dollmaker” and the miniseries “A Woman of Independent Means.” Her Broadway credits include “The Elephant Man,” for which she earned a Tony nomination, “Cat on a Hot Tin Roof” and “Ann.” In 2011 she received the Costume Designers Guild Career Achievement in Film and Television Award.
Talent producer Taryn Hurd joins the Oscar telecast team for the second consecutive year. Hurd has served as talent producer on events including the FOX network’s “New Year’s Eve Live,” the Breeders’ Cup telecast, “Teen Choice 2013” and “VH1 Divas Salute the Troops.” She also has served as talent producer on the FOX series “So You Think You Can Dance” and ESPN’s “SportsCenter.” Previously, Hurd amassed numerous credits as talent executive on broadcasts such as “The ESPYS,” the “Billboard Music Awards” and the “Critics’ Choice Awards.” She also was the talent producer for the Academy’s 6th Annual Governors Awards.
Also rejoining the production team are supervising producer Michael Seligman, co-producer Lee Lodge and lighting designer Robert Dickinson. Seligman has more than 300 major television events to his credit and has earned 12 Emmy nominations, including 10 for his work on Oscar telecasts. Seligman’s other producing credits include “The American Giving Awards,” “America Celebrates July 4th at Ford’s Theatre,” “Stand Up to Cancer” and “Return to the Titanic…Live!”
Lodge served as co-producer on last year’s Oscar telecast and screens producer on the previous five. His credits also include co-executive producer on the “MTV Video Music Awards” in 2012, 2013 and 2014, creative producer on the “CMA Awards” since 2010, and screens producer on the “Billboard Music Awards” since 2011.
Winner of 18 Primetime Emmys, lighting designer Dickinson has worked on 25 Oscar broadcasts, including the 86th Academy Awards earlier this year. His numerous other credits include the “Kennedy Center Honors,” “Grammy Awards,” “Emmy Awards,” “Tony Awards,” “American Music Awards,” Olympic ceremonies in Atlanta, Salt Lake and Athens, and the television broadcasts “The Sound of Music Live!” and “The Victoria’s Secret Fashion Show.”
The 87th Oscars will be held on Sunday, February 22, 2015, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.
Follow the Oscars producers and host Neil Patrick Harris for the latest updates throughout Oscar season.
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