Narragansett Pier After Midnight by Edward Drobinski - HTML preview

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The next afternoon, the trio met and took the Whitel family, wooden boat that had been in their family for generations.

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The destination was the Furay residence, as they called it, a grand house on a jutting pier with two hundred and seventy degrees of ocean views. As they glided over the mild afternoon ocean waves, Lena, Karl and Ernst hardly spoke. The time for that had past and Lena had no desire to advertise her interest in adventure, especially while she knew that Karl and Ernst were most drawn toward not revealing their mutual sense of trepidation.

The journey seemed as succinct as Lena’s cut off dungaree shorts, the end frays of which seemed to flutter and lap at her upper thighs, much in the same way the ocean lapped at the row boat.

Soon, the Furay residence looked larger than life. The brothers docked their boat in the dugout canal which partially ran through the structure’s center, being the only one there. Since vampires can fly, ostensibly they don’t need a boat. Lena in front, Karl, and Ernst ascended the winding path to the house.

Even in the sun, the air was thick with the musty scent of decay. The entrance was hidden behind a veil of thick ivy, with the only path leading to it being a narrow, winding trail obscured by the overhanging branches of ancient trees.

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They pushed open the heavy front door. As the trio explored, they felt the weight of unseen eyes upon them, and the air was heavy with the echo of whispers from the past.

As they stepped further and further inside, the air grew noticeably cooler, and the scent of damp earth and aged stone filled their senses.

The dimly lit cavern was adorned with cobwebs, ancient tapestries, and eerie candlelight. The air smelled of dampness and secrets. Karl and Ernst Whitel and Lena Fair, wide eyed and the former two trembling, stepped cautiously into the lair.

Ernst, whispering: “Lena, are you sure about this? I mean, breaking into a vampire’s lair? It’s insane.”

Lena, grinning: “Ernst, it’s just a dare. Besides, vampires aren’t real. It’s all folklore and makeup. We’ll prove it tonight.”

They followed the flickering candlelight deeper into the lair.

The walls seemed to close in on them, threatening a crushing meet.

Karl, nervously: “What if you’re wrong? What if there’s an actual vampire lurking here?”

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Lena: “Relax, Karl. We’ve got our garlic necklaces and wooden stakes. What could go wrong?”

They reached a heavy velvet curtain. Lena pushed it aside, revealing a grand throne. And there, sitting regally, was Count Amdis, clad in a crimson velvet cape.

Count Amdis, smiling: “Ah, visitors! How delightful. Come closer, young ones.”

Karl, Ernst and Lena exchanged glances. Count Amdis’s teeth were suspiciously white, as if his mouth had overdosed on Swissklip Teeth Whitening Foam Toothpaste.

Karl, whispering: “Lena, his teeth! They’re too perfect.”

Lena: “Shhhh. Let’s play along.”

They approached the Count, who gestured to the ornate chalice on a nearby table.

Count Amdis: “A toast to our unexpected guests. You’ve stumbled upon my humble abode. I am Count Amdis, the last of the true vampires.”

Ernst raised an eyebrow. Lena nudged him.

Lena, cheerfully: “Count, we’ve heard so much about your legendary powers. Mind showing us a little vampire magic?”

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Count Amdis grinned, highlighting his “fangs.”

Count Amdis: “Very well. Behold!”

He waved his hand, and the candles flickered. But nothing else happened.

Ernst, unimpressed: “That’s it? A flickering candle in a mild breeze?”

Lena, leaning in, like a stooping dentist: “Count, your fangs

... they look so ... fake.”

Count Amdis’ eyes widened, and he quickly covered his mouth.

Count Amdis: “Nonsense! My fangs are ... uh ... authentic! Now, about that toast.” He reached for the chalice, but Lena snatched it away.

Lena, smirking: “Count, what’s in this chalice? Tomato juice?

Cranberry?”

Count Amdis stammered: “Well, you see, I’m on a special diet.

Vampires can’t drink blood only and all the time, you know.”

Ernst pulled out a compact mirror from his pocket.

Ernst: “Lena, look. His reflection. It’s crystal clear.”

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The Nolo Contendre Plea with a Long Explanation Count Amdis’s face reddened.

Lena, leaning in: “Count, you’re not a vampire. You’re a fraud!”

Count Amdis slumped in defeat.

Count Amdis: “Fine, fine! I’m an actor. The whole vampire thing is contrived to keep me going here. But don’t tell anyone!”

Karl, Ernst and Lena bursted into laughter.

Ernst: “So much for the undead.”

Lena, to Count Amdis: “You owe us a good scare, at least.”

Count Amdis: “I don’t think that’s any longer possible. Look, I’m just trying to keep this house safe from invaders, squatters, and bums in general. You know how the authorities favor them now. The bonehead Joe Jukraine Poopants family’s America is a crime and disease ridden catastrophe, imported by him and his Democrat machine at the expense of the law abiding, hard working, legitimate, American citizens. It is a landscape of unvetted, unvaccinated, filthy, darkie beggars imported from the most fetid shit holes on earth. It is miles of urban streets littered with tents and needles and human waste, a landscape of

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violence and mayhem and sex trafficking. How a single rational American could vote for more of this madness is inconceivable.

I’m really Béla Ferenc Dezső Blaskó, Alistair Fuhray’s longtime butler, and I have no intention of leaving here. His widow has abandoned the house, and cannot sell it for any reasonable price because of the ‘suicide.’ She employed me to take care of the place and that’s what I’m doing, though I’m not sure it’s exactly what she had expected, but you never know. The bums won’t mess with vampires, so I’m providing them with one as a Narragansett Pier deterrent. Besides, there’s no way I’m going back to Narragansett Town. I mean like, gag me with a spoon.”

Lena, smirking: “So, as an actor you transcend the ... How does one say? ... The hardest edge of truth.”

Bela: “As an actor, the allure of the vampire role is one that transcends the mere act of playing a character. It’s about embodying an archetype that has haunted the human imagination for centuries. The vampire is a figure of complexity and contradiction, embodying both danger and desire, fear and fascination.

When I approach the role of a vampire, I’m not just putting on a costume and fangs; I’m stepping into a narrative rich with history and symbolism. The vampire is a mirror to our own

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humanity, reflecting our fears about mortality, our desires for immortality, and the primal instincts that lie beneath our civilized veneer.

To play a vampire is to explore the boundaries of human experience, to delve into the darkness and emerge with a performance that is both chilling and captivating. It’s a chance to bring to life the eternal dance between predator and prey, to give voice to the silent whispers of the night, and to become the embodiment of the eternal outsider, looking in on a world that is both home and prison.

This role is a journey into the depths of the human psyche, an exploration of the shadows where our deepest fears and desires reside. It’s an opportunity to confront the darkness within and without, to transform it into an artistic expression that can move, terrify, and enchant an audience.

In the end, the reason I play a vampire is not just for the thrill of the performance, but for the chance to connect with something timeless and universal, something that speaks to the very core of what it means to be human. It’s a role that demands everything I have to give as an actor, and in return, offers a piece of immortality. That, in itself, is a compelling reason to

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embrace the night and become the creature of legend that is the vampire.

Vampires are rich in symbolism and have been interpreted in various ways across cultures and history. Here’s a deeper look into the symbolism associated with vampires: Rebellion: Vampires often symbolize rebellion against societal norms due to their secretive and anti-norm existence.

Fear of Disease and Death: They represent the human fear of disease, mortality, and the fragility of life.

Immortality: The concept of immortality within vampires reflects the human desire for eternal life or a fear of death.

Sexuality and Temptation: Vampires are frequently portrayed as seductive beings, symbolizing desires, temptations, and forbidden sexuality.

Power and Dominance: Their depiction as powerful and dominant beings evokes both a desire for power and a fear of those who wield it.

Transformation and Duality: The vampire’s ability to transform into creatures like bats or wolves symbolizes their dual nature; both human and animalistic.

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The Supernatural: Vampires are often associated with the supernatural realm, highlighting themes of power, transformation, and duality.

These symbols are woven into the fabric of vampire mythology, making them compelling figures that continue to fascinate and terrify audiences around the world. Each symbol carries a wealth of meaning, contributing to the layered and complex portrayal of vampires in literature and popular culture.”

Lena, Karl, and Ernst abandoned what they had been stifling, and, like an overly ripe pimple, broke out in sustained laughter.

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