260 words on the pub scene I had hoped to finish last night. It's not quite done yet. There needs to be revelations.
***
The throng at the bar was thinning. Most were outside again, laughter a little louder, balance less steady. John reached across the table and poured half of Sherlock’s bitter into his glass. When he set it down again, Sherlock was at the bar, just behind the man who had been there when they first came in. John wondered if he was dating the barman.
Sherlock popped a few peanuts in his mouth as he sauntered towards the table and sat down. “They play poker together,” he said, leaning across the table to give John the rest of the packet.
“I see,” John said, but he did not see, except that Sherlock had understood what he was thinking from across the room. John pictured the most lascivious thing he could imagine and stared straight at Sherlock.
Sherlock didn’t look away. “We could skip the kebab,” he said.
“I’ll pass out if I don’t eat some actual food soon,” John replied, thinking that that manoeuvre had back-fired.
“We’ll get it to go,” Sherlock said, standing. “But keep that position in mind.”
John finished his ale and wondered how Sherlock could possibly know that.
Sherlock winked at John from the open door before he swirled out. John banged his glass down and followed.
John's not the only one who's wondering :) And he'd better watch himself or he'll never get to that kebab . You're going in an unexpected direction. Are you thinking this may become part of the Experiments series?
I recall thinking about that when I wrote Red and thought there was something in either that story or Milk that didn't fit. Today I re-read them and didn't see anything contradictory, although maybe it's in the beginning part of this one that I had written before pico started. I need to re-read this draft at some point! I started today, but then had to go out.
It is like the mood of the series is pulling at me here though. Maybe that's a good sign, although perhaps not for this story.
This definitely veers in that direction, though as you say, it may be a leap for this story simply because it's not referenced until now (unless it's in the parts we haven't seen). I'm quite curious to see how you handle this as you go on.
As a side note, I had to laugh when I read the NYT review of the "Holmes" movie and came across this sentence:
Anachronistic as it might be, it isn’t hard to imagine Benedict Cumberbatch, the kinetic, intensely focused Sherlock of the BBC series, aging into this mellow codger. (The same can’t be said for the smirky action-hero version played by Robert Downey Jr. in Guy Ritchie’s tedious franchise.)
Smirky action hero--oh lord the new mfu trailer definitely stars a walking smirk.
Ah, that was pleasant to read regarding my favourite dramatisation of the character! I think smirk is the emotional/intellectual stance of choice for a lot of protagonists these days. That approach and almost only that approach.
I didn't put anything in this story, consciously anyway, to connect it to Experiments, although I don't think it would be hard to add a sentence or even a phrase here and there to reference that extra layer of things. This is probably because my mind is always ready to go in that direction and I think my stories are usually situated near the edge.
Possibly what I thought was incompatible, back in the winter when I wrote Milk was that I referred to a series three development with Redbeard. Since Redbeard was in the past, he would have been there even during series one and two, but we just hadn't heard of him (if, indeed, Redbeard is a dog - I've decided he was). So...I suppose I could take that detail from series three without taking any of the rest of it, since I had already created my own version of the hiatus, the return and Mary. Hmmm. Hmmm.
Excellent progress! Kudos. If you know what needs to happen it will no doubt get finished next session. “We could skip the kebab,” he said. Love this! Poor John.
My theory is that he's memorised every micro-expression John makes in every situation and has them categorised, so they amount to a kind of sign language.
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***
The throng at the bar was thinning. Most were outside again, laughter a little louder, balance less steady. John reached across the table and poured half of Sherlock’s bitter into his glass. When he set it down again, Sherlock was at the bar, just behind the man who had been there when they first came in. John wondered if he was dating the barman.
Sherlock popped a few peanuts in his mouth as he sauntered towards the table and sat down. “They play poker together,” he said, leaning across the table to give John the rest of the packet.
“I see,” John said, but he did not see, except that Sherlock had understood what he was thinking from across the room. John pictured the most lascivious thing he could imagine and stared straight at Sherlock.
Sherlock didn’t look away. “We could skip the kebab,” he said.
“I’ll pass out if I don’t eat some actual food soon,” John replied, thinking that that manoeuvre had back-fired.
“We’ll get it to go,” Sherlock said, standing. “But keep that position in mind.”
John finished his ale and wondered how Sherlock could possibly know that.
Sherlock winked at John from the open door before he swirled out. John banged his glass down and followed.
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It is like the mood of the series is pulling at me here though. Maybe that's a good sign, although perhaps not for this story.
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As a side note, I had to laugh when I read the NYT review of the "Holmes" movie and came across this sentence:
Anachronistic as it might be, it isn’t hard to imagine Benedict Cumberbatch, the kinetic, intensely focused Sherlock of the BBC series, aging into this mellow codger. (The same can’t be said for the smirky action-hero version played by Robert Downey Jr. in Guy Ritchie’s tedious franchise.)
Smirky action hero--oh lord the new mfu trailer definitely stars a walking smirk.
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I didn't put anything in this story, consciously anyway, to connect it to Experiments, although I don't think it would be hard to add a sentence or even a phrase here and there to reference that extra layer of things. This is probably because my mind is always ready to go in that direction and I think my stories are usually situated near the edge.
Possibly what I thought was incompatible, back in the winter when I wrote Milk was that I referred to a series three development with Redbeard. Since Redbeard was in the past, he would have been there even during series one and two, but we just hadn't heard of him (if, indeed, Redbeard is a dog - I've decided he was). So...I suppose I could take that detail from series three without taking any of the rest of it, since I had already created my own version of the hiatus, the return and Mary. Hmmm. Hmmm.
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