DP FICTION #68B: “Are You Being Severed?” by Rhys Hughes

Content note(click for details) Content note: discussion of suicide

He was lost in the guillotine section of the big department store. He could never have guessed there was such a thing, or he might have taken more care when the doors of the elevator opened and let him out. He was on the wrong floor. The lighting here was dim and bloody, the lamps shaded to deliberately cast a gory glow over the items that were on sale. It was crude and unfair. By the time he realised his error he had already wandered too far into the enormous room and his sense of direction was confused. He had no idea how to get back to the elevator.

Members of staff were gazing at him as if he was a violation of this refined space, a drifting smell or spreading stain. Conscious of their eyes on his back, he pretended an interest in the products on offer. He studied the blades, stroked the rough ropes and tapped the wooden frames. Nodding to himself and muttering, he tried to broadcast a message, to somehow radiate his intention to return another day, maybe tomorrow or next week, and purchase a model. In the meantime he was browsing, testing, and yes, he was sincere and innocent, a real customer.

His random passage took him in a circle that consisted of epicycles, a meandering path that perhaps resembled the rolling of lopped heads in some idealised schematic of brutality. At last a tall man approached. They were all tall on this floor, these members of staff, horribly tall as they stood in their unexpected corners, but the altitude of this one was especially remarkable. And yet he wore a coat too long for his body. His posture was rigid, beyond militaristic, and his moustache bristled, but then he smiled and made a little bow, as if he was sniffing a bowl of soup.

The others were watching carefully. There were no customers on this floor apart from him, just staff members, and it was clear the extra tall man was the floorwalker, that he could cover the distances necessary in next to no time at all with his long legs, that he was feared by his colleagues. Within that fear was awe, and nested in the awe was love, but more fear underpinned the love. These secret layers of regard were the geological strata of a commercial tyrant, as difficult to erode as the igneous slabs of a towering sea stack bathed in spray at high tide.

But they were far from the ocean now. This department store was located in a city in a landlocked country, and the land undulated with hills all around, not waves. Then the floorwalker clasped his hands theatrically.

“May I be of assistance, monsieur?” he asked in an accent that was so courteously forbidding that the syllables of his words were like crumbs of biscuits too durable to dissolve in strong tea. “And if not, why not?”

“I’m just browsing today.”

“But what exactly does monsieur have in mind?”

“My name is Mr. Plum.”

“Come now,  monsieur, you must have some idea of the particular model you are most interested in? We have every kind of guillotine in stock, the full historical and futurological range. There are the cruder versions that hack and the improved devices that slice. We have long drop and short drop models. Those that catch the blood and others that allow it to trickle or even spray.”

“That’s very helpful.”

“But is it helpful to you, monsieur?”

“My name is Mr. Plum. I was born in this country too. I haven’t yet decided what I need. I’m just browsing, for a friend.”

“For a friend, you say? That strikes me as unusual.”

“For an enemy, I mean.”

“Then it is for yourself you are shopping!”

“Yes, but I wasn’t…”

There was no point arguing. He was out of his depth with this fellow, this utterly lanky floorwalker, a man who was probably never out of his depth anywhere, even while wading across a continental shelf, not that the department store was nearer the ocean now than before. Not enough time had passed for sufficient tectonic activity to take place. Yet it felt as if he had already been trapped here for innumerable years. And now the floorwalker was taking full charge of his destiny, leading him not by the hand but with a form of mercantile magnetism.

Mr. Plum muttered to himself, “I only came into this store for a kettle. I got out of the elevator at the wrong floor, that’s all. I’m reading a book at home, a difficult book. I wanted a coffee break but I don’t have a kettle. I will return to my book when I can. With or without coffee, I’ll read it to the end.”

“Is monsieur troubled?”

“Not at all. No, wait, I want to know where we are going.”

“To browse the products.”

“I see. Yes. That’s your answer, is it?”

“Monsieur stated that he wished to browse. I can facilitate that wish. I am not yet a genie but I have the capability of making some wishes come true. The easy wishes, mostly. Your wish is a very easy one.”

Mr. Plum shrugged. He did this because his shoulders were trembling. The nerves inside his torso were vibrating unbearably. The shrug untied some unwholesome knot and he was well again. Able to walk, to accompany the very tall man, they stopped together next to an apparatus that might have been a grandfather clock rather than a guillotine. And it was explained to him that yes, it told the time as well as lopped off heads. It had been designed for the parlour, for people who still had parlours in their houses, and did monsieur have a parlour too?

“Not really. No, I don’t.”

The look he received was so withering, he added, “Sorry.”

“This way, monsieur!”

They passed squat machines with iron frames and no ornamentation, practical but unlovely, and highly rococo golden devices that soared almost to the ceiling, splendid but equally terrible. They were heading towards a very large guillotine that stood on a platform by itself, like an actor on stage about to recite a monologue. A long wooden ramp connected the lunette of the machine with the lane of a bowling alley. Skittles in the form of little human figures stood and waited for a severed head to roll along and knock them down. Execution as recreation.

“What does monsieur say?”

“It’s too big. It wouldn’t fit in my house.”

“For the garden. An outdoor model. You can sit in a chair and knit while the heads roll down the ramp. Does monsieur knit?”

“Not even cardigans, I’m afraid. And I don’t have a garden.”

“But are you not educated?”

“Of course. I have a university degree.”

“A bachelor’s degree then? Well, that can’t be helped. There are other models to show you. This way, monsieur!”

And they were off again, passing rows of guillotine variants that removed heads with circular blades or blades like the rotors of a propeller. One was simply a perfect replica of a breadknife but enormously magnified and fixed on a pivot to a board as wide as a double bed. Another was a bed, with the blade activated by springs in the mattress. A particularly grotesque version was a giant pair of crimping scissors and Mr. Plum could imagine the muted snip as the blades closed together and left a stump of a neck with bloody corrugated edges.

“Keep going, monsieur.”

“I like the look of the one over there.”

He realised it was a mistake to say this, but he desperately wanted to divert their path away from the hideous coffin-like contraption that stood directly ahead of them, a guillotine that clearly sliced sideways rather than vertically. He didn’t want his body in proximity with such a thing. The one he had pointed out was small and inoffensive in comparison, the sort of contrivance one might keep on a coffee table in the lounge without running the risk of adverse comments from visiting friends. It was like a little cabinet with a door, the blade hidden within.

“Monsieur, this is considered to be a lady’s guillotine. Akin to one of those pearl handled revolvers that ladies keep, or kept, in their handbags. Monsieur! But you are not buying a gift for wife or mistress! You are browsing for yourself. We worked this out using logic only a few minutes ago!”

Mr. Plum spoke thickly, as if congealed blood already clogged his throat. “Perhaps I myself am a wife or mistress. Perhaps.”

The floorwalker arched his lush eyebrows and now they were so high that to reach them for a plucking a woman with tweezers would require an extendable ladder. Or a man with that ladder could conceivably pluck them. It was a modern city, despite its remoteness from the ocean, from the trading networks, from foreign news. For long moments the eyebrows remained up there. He kept his eyes fixed on them. Then they descended soundlessly, at last, and he heaved a sigh of relief, for the floorwalker was smiling. They didn’t descend like blades.

“I understand. You jest. It is for a masque, a fiesta.”

“For one of those, yes.”

“A malign fiesta. In that case, permit me to explain its workings.”

“I grant you permission.”

“You open the door and ask your enemy to smell the interior. Your enemy falls for the deception. They insert their head into the space and inhale. The drop of pressure inside the box then activates a switch that causes the blade to fall. The drop is short, too short for a decapitation. The neck is only partly severed. The victim stands up in surprise and pain. Now the box is attached to his head. He can’t get it off, so you will offer to help. You take hold of it with both hands, a firm grip, and you twist with all your strength. That finishes him off.”

“I see. But what does the inside smell like?”

“Pine resin varnish, monsieur.”

“My name is Mr. Plum.”

“May I suggest that monsieur try it out in the changing room?”

“But I haven’t decided.”

“May I insist that monsieur try it out there?”

The other staff members giggled. They were still standing in their corners, in the alcoves and niches of the walls. He licked his lips. Ought he to make a run for it? But it was futile. The long legs of those man-spiders would catch up with him, they would converge on his fleeing form from all directions. He was doomed that way. The only chance he had was to continue the charade and somehow come out the far end in one piece. He shrugged again, nodded and lifted his hands in mock surrender. The echoes of the giggles faded away. Silence reigned.

Swooping on the box with his long arms, the floorwalker snatched it up in gnarled and massive palms and conveyed it to the nearest changing room. Mr. Plum followed in his wake, pulled along on invisible strings.

The curtains in front of the changing room were dyed the brightest of pulsating reds. But the floorwalker swept them aside and ushered him inside, then he placed the guillotine on the coffee table that was the only item of furniture in the oval room. He departed and closed the curtains after him and Mr. Plum was left alone with his anxiety and his imminent death. He turned to examine his reflection in the mirror, but there was no mirror. There was a screen on which shapes flickered. They were a projection but he was unable to locate the projector.

The shapes achieved greater clarity, came into full focus. And now sounds rose all about him from hidden loudspeakers. The baying of a mob. The shapes were figures of men and women, those who had come to watch a public execution. It was only an illusion, but it unnerved him. He wondered if he ought to thrust his head into the box and hold his breath for a minute, then withdraw and claim the apparatus was broken. Hadn’t the floorwalker told him it was operated by the breath of the victim? But that would only buy him a little time, not enough.

The alternative was really to cut off his own head and have done with it. His body resisted this option, he felt nauseous. What should he do? Remain in this room until after closing time and then hope to sneak out when the staff were gone? But he wasn’t sure the floorwalker ever left the department, or even had a home to go to. It seemed implausible. Then an audacious idea came to Mr. Plum. Picking up the box and turning on his heel, he pushed his way through the curtains without parting them. He looked neither to left or right but marched out briskly.

With his best attempt at a confident voice, he stopped before the floorwalker and said, “Yes, it works perfectly fine. I’ll take it.”

“Monsieur actually tried it?”

“Of course I did.”

“And the result for monsieur was?”

“It’s just what I need.”

“But… but did monsieur follow my instructions?”

“To the smallest detail.”

“You pushed your head into the box and breathed in.”

“Yes. Then the blade fell.”

“And it cut off your head? But I don’t see…”

“It didn’t cut it off entirely. No. I had to twist the box around several times before that happened. Then I knew it was a good device and I picked up my head and put it back on my neck. I wish to buy it.”

“Well now. Does monsieur want it gift wrapped?”

“No need. I’ll take it as it is.”

The floorwalker lifted his immensely long arms and let them drop again and this gesture was one of the deepest disappointment. The tall men in corners and alcoves groaned in unison. Mr. Plum reached for his wallet. He was acutely aware that all eyes were probing his bare neck, searching for the join, for the mark. Not finding it, they would grow suspicious very rapidly, but he might well be out of here before they had time to stop him. It was just a question of finding the elevator. Or maybe there was a flight of emergency stairs somewhere near?

“How much is it?”

“One large and tarnished penny, monsieur.”

“I only have a florin.”

“We don’t have change in the till.”

“Do you even have a till? No, don’t answer that! Keep the change. Keep it until it does change. Until you change.”

“Monsieur is very generous. Very wise.”

“And the way out?”

The floorwalker pointed in two different directions with two of his long arms and Mr. Plum went in a third direction, clutching his guillotine and whistling, but his breath came in shuddering gasps and even when he saw that he was indeed heading straight for the elevator doors his lungs still rasped against his ribcage and every step was an ordeal. But no one followed him. He had won. He pressed the red wall button and the door opened immediately. Then he stepped inside and it closed. He stood to attention, wondering if this box was a guillotine too.

No, it wasn’t. The elevator descended to the ground floor. He stepped out and left the department store. It was early evening already. As soon as he stood in the street, a smile formed on his face and he uttered the words, “I’m free.” The nearest tram stop was only a short distance away. He caught a tram back to his own district, walked for fifteen minutes to his apartment block, tramped up the stairs to the level on which he resided. He placed the guillotine on the floor, groped for his key and opened the door, then picked up the box and carried it inside.

The kitchen was a melancholy place. It still had no kettle. He found space for the guillotine on the counter next to the blender.

Then he went into his study to resume reading a book, the book he had abandoned halfway through, the difficult book. It was the oldest book he owned and he couldn’t recall how it had come into his possession. He sat at his desk and frowned. The words on the page no longer made sense. Even the individual letters were incomprehensible. They resembled bubbles within bubbles. He flicked through the volume rapidly. The same script filled every page. The language the book was written in must have gone extinct while he was shopping in the store.

That did sometimes happen. But what bad timing! What was the solution, if any? He turned his head in the direction of the kitchen. Surely an extinct man was the kind of man who would be able to read an extinct language with ease? But suicide was a drastic action to take for the sake of finishing a book, one he hadn’t found especially entertaining even when he was able to understand it. A desire to chop the book in two overwhelmed him. “I’m not free at all,” he told himself as he stood and wandered out of the study. “None of us can ever be that.”


© 2020 by Rhys Hughes

Author’s Note: The belief that a complete story can grow from a small seed, from just one idea or something even smaller than an idea, an image, a remark, or in this case a pun that just popped into my mind one day for no reason, ‘Are you Being Severed?’  And the moment I had those words I had the story entire. It grew in my mind with an inevitability that seems to have little to do with any conscious effort on my part. Watching the still unwritten story unfold in my mind was like watching the spreading of a pool of water from an upset jug. It just formed a pattern, the pattern it couldn’t help but form. Then it was merely a case of me setting down in words that story and its pattern. I also wanted to see if it was possible to include the sorts of allusions and puns that many readers feel lessens a story’s impact in such a way that the impact isn’t lessened at all. I wanted to find out if such tricks might even enhance the impact. That is how this story came into being.

Rhys Hughes was born in Wales. His first book, Worming the Harpy, was published in 1995. Since that time he has published fifty other books, more than nine hundred short stories, and innumerable articles. He graduated as an engineer but now works as a tutor of mathematics. His most recent book is an epic poem, The Meandering Knight, and he is currently working on a collection of experimental stories to be called Comfy Rascals. His blog may be found at http://rhysaurus.blogspot.com


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DP FICTION #68A: “A Complete Transcript of [REDACTED]’s Video Channel, In Order of Upload” by Rhiannon Rasmussen

VIDEO TITLE: Easy cooking for the family.

DESCRIPTION: Thank you for watching.

TRANSCRIPT:
Dark kitchen, grainy. Camera, low resolution, is pointed at a cooking range with dented skillet resting on it. Both are crusted with food and what appears to be rust. The stovetop paint is flaking off in layers. Over the side of the skillet, a lump which appears to have hair in it is visible. A black sheet has been draped across the counter behind the cooking range. After a moment of rustling, it becomes apparent that hands in black gloves have been in view.

It is unclear if the voice has been dubbed over, but likely belongs to the person cooking. Voice is soft, whispery, and barely audible over the snap of the flame. Audio peaks often.

VOICE: I really— hello. I find cooking videos soothing to watch, so I— I decided to make one of my own. I hope that— I hope that you find it soothing too. To start, I—

The speaker fumbles with the pan. There is a glimpse of stained, cuffed sleeves.

VOICE: I have to make a lot of food, so this pan isn’t— it’s not the best one I could have picked, ah… I’ve done it wrong already.

A hiss. The pan is removed and replaced with a pot. The contents are not visible but slosh when the pot is moved.

VOICE: So— so… let’s start with… an easy thing everyone likes to eat. It—it’s soup. Don’t— don’t criticize me.

The speaker retreats. Chopping is audible offscreen while the speaker continues.

VOICE: In the… you have to sauté it to soften it, but I’m afraid it, er… it’s only gotten harder. That’s… that’s all right. It doesn’t matter. It’s just a stew.

There is a nervous laugh.

VOICE: Oh, it’s— it’s a bone. Here.

There is a thump, and crackle. The pot rattles and begins to bubble over.

VOICE: Then we add it to the— to— it’s boiling— wait—

The camera is knocked to the side, tilting the video. A handful of lump is crumbled into the pot, which causes the liquid to spill over the edges and splash across the stovetop. There is a hissed exclamation and the video terminates abruptly.

*

VIDEO TITLE: I have to cook a lot so I made another video.

DESCRIPTION: The last video was hard to see. I’m sorry.

TRANSCRIPT:
The camera has been moved to above the stove. The video appears to sway in a way that suggests that the camera is suspended rather than mounted. There is a strong light to the right of the video, but the left is in strong shadow. A glistening oil can sits below the light. The dented skillet from the first video sits on the bottom right burner, by the oil.

VOICE: Good— morning. I watched the last one and … this is better now. I’m not— I don’t want to make soup. Today it’s a … gnocchi.

Rustling. With both hands, white pellets are poured into the skillet. They continue to move after being poured into the skillet.

VOICE: These are ones I grew myself, so they’re— you know they’re fresh.

With both hands, the speaker hoists the can and gingerly pours oil into the skillet. While the oil is poured, static and audio distortion increases.

VOICE: The oil keeps— it keeps the can from rusting, so I cover it often… stop it!

The speaker bumps the skillet with their arm, knocking it over. The pellets crawl in all directions after they are spilled.

VOICE: Don’t you understand this is import—

The camera swings wildly. For two frames a thin white hand with too many fingers is visible grasping the black sheet behind the stove before the video terminates.

*

VIDEO TITLE: Unboxing at home. Fun

DESCRIPTION: I made an unboxing. It is a surprise that I haven’t seen unboxed before. There wasn’t anything at the end of the other video. Please don’t leave rude responses I will see them.

TRANSCRIPT:
The camera, tilted, is fixed on a damp cardboard box tied with a string. There are no visible maker or mailing marks on the box. One corner is crumpled in; that corner is stained black. The stain is spreading across the counter, which appears to be the kitchen counter. The lighting is even, but deeply yellow. A tapping which has been audible since the beginning of the video ceases.

VOICE: Hello. I… the cooking was… I will practice so it isn’t so disappointing. Thank you. Today is an unboxing, I…

The speaker reaches into view, and places gloved hands on the box. The speaker appears to be wearing the same stained button-up shirt as in the video ‘Easy cooking for the family.’

VOICE: This is the box… first I untie it…

The speaker fumbles with the string until it comes undone.

VOICE: And then… it’s sealed with… with tape, which I have to cut… I wonder what’s inside? What could have been sent to me?

A nervous, whispery laugh. A kitchen knife with nicked blade is used to saw the box open. There does not appear to be tape holding the flaps together.

VOICE: This is… the hard part because it really has to… hold still. There.

The knife is placed to the left of the box. The speaker gingerly opens the flaps and reaches inside.

VOICE: Now it’s exciting. Aren’t you excited…?

The speaker pulls out a glass jar. The contents are black. White objects float inside. The speaker is excited; their voice pitches up.

VOICE: Oh! It’s my teeth!

The speaker holds the jar closer to the camera. A black fluid runs down the jar from a large crack near the lid. The speaker is audibly disappointed.

VOICE: Oh… it’s leaking…

The hands pull back and footsteps are heard leading away from the microphone. After a full minute of silence, the footsteps return and the video terminates.

*

VIDEO TITLE: Organic gnocchi garden.

DESCRIPTION: It is not a creepy video. It is filmed in my house please stop asking. It is my house. Please stop asking where my house is. It is a private house.

TRANSCRIPT:
The voiceover begins immediately. The camera is held at an average shoulder-height, moving down a dim hall lined with wooden slats. The ceiling is low and does not have light fixtures. The construction style is of the early 1900s.

VIDEO: I had— many people— ah, who asked about the gnocchi. Of course it was good, it’s not… I don’t know what…  is that—

Nothing changes in the hallway, but the progression stops.

VOICE: …there isn’t anything. It doesn’t matter, here we are.

The speaker turns, and the camera faces a door the same color as the hall. The speaker, wearing black gloves, fumbles with the door. When the door is opened, a buzzing is audible. The speaker fumbles with a pull string.

VOICE: I keep it in the dark. They said it’s a favorite. It took me a while to figure this out but it isn’t too hard…

The light comes on with a click. The camera sways close to a large. blackening ribcage, mostly stripped of flesh. It appears to be the remains of a cow or pig.

VOICE: Here. And… sorry, I have to open it… a bit strong… ah, if I had another hand— ha ha—

The camera dips as the speaker turns the carcass to face the camera. Black spots buzz across and the speaker hisses and waves them away. A large white blob is visible. After a moment the camera focuses as the speaker pushes it closer. The white is a chest full of writhing maggots. A fly lands on the camera, blotting out half of the video. The voice sounds relieved.

VOICE: And that’s the— my indoor garden.

*

VIDEO TITLE: f

DESCRIPTION: boil

TRANSCRIPT: The camera swings unsteadily over a pot of yellow oil. There is the sound of shallow breathing for eleven seconds before the video abruptly terminates.

*

VIDEO TITLE: fryung with mushrooms

DESCRIPTION: im ok

[A significant amount of hard returns seperate the first two words from the following text:]

I SAW YOU THIS IS YOUR LASRT WARNING STP SNREAKING ARIUBD MY HIUSE

TRANSCRIPT:
There is swinging and as the camera is fixed into place above the stovetop. A large pot is visible; it is filled with bubbling oil. The hands withdraw from the camera before the speaker begins.

VOICE: Today we are going to fry some mushrooms. Um… I found a bunch of them recently…

There is rustling and the speaker holds a porcelain tray up to the camera. On the tray are several mushrooms trailing mycelium. Alongside the mushrooms are lumps that appear to be covered in fuzz.

VOICE: Since it wasn’t very interesting and I don’t know how to do the video skip, I took the oil to boil while I wasn’t recording. I’m sorry if you wanted to see it. I turned it up to the highest setting until it boiled…

The tray tilts and the contents slide into the oil. As the lump hits, there is a pop and sizzle. Oil bursts across the stove and tray. The speaker yanks back with a startled inhalation, jostling the camera. The tray is pulled away. There is the sound of it being set down off-camera.

VOICE: —ah, and then we, and then we wait for it to finish.

There is a forty-second pause in speaking. The camera is set back into its original position.

VOICE: I know how long it’s supposed to cook. Until it…

The contents of the pot blacken as the oil continues to boil.

VOICE: …until…

There is rustling off-screen.

VOICE [mumbled]: Oh, no.

A hand rests on the side of the stove.

VOICE: I forgot the tool to take it out with…

There is a pause. The speaker hesitates over the boiling pot before plunging their hand into the pot. There is a shrill scream. The camera is knocked spinning. The video terminates.

*

VIDEO TITLE: Cooking with a roast beef.

DESCRIPTION: Thank you for concern. Today we will cook a roast beef. Please know I did not disturb the gnocchi for this roast.

TRANSCRIPT:
The camera is pointed at the oven. The door is open, and the interior is blackened. From the color, grime, and lighting it seems to be the same stove as in previous videos. The speaker’s voice is audible from what seems to be behind the camera.

VOICE: I wanted to show— oh. Hello. Today we’re going to… cook a roast. A… a roast beast. Beef.

With a scraping noise, a rusty metal tray is pushed into view. It is held by an unsteady, bandaged hand. On top of the tray are three chunks of rib bone. The shriveled meat on the ribs is tinged green.

VOICE: I… er, I cut the beef… and now it’s on the plate. So the plate goes into the oven, which is hot… I turned it to, er, to [inaudible] degrees… please be careful with hot things. Though it doesn’t— it doesn’t hurt too much, so don’t worry. Thank you.

The speaker slides the tray into the oven, and then carefully closes the oven door. Though there is a glass window, the inside is not visible due to a combination of filth and lack of light. The video continues to record the oven for several hours without interruption.

Nothing changes in the video until 3:41:53, when there is a distant noise of glass breaking and a light flickers. At 4:08:03 there is a muffled scrape and thump, and a possible second voice with an indistinct exclamation. At 4:15:47 there is a metallic shriek, a series of loud bangs, and shouting, speaker undetermined. The shouting ends abruptly with a damp thud. The camera shakes slightly and is not reoriented.

The video continues without note until 5:32:11, when the oven begins to emit smoke, and at 5:46:23 there is a brief flare of red before the ribs visibly catch flame at 5:52:09. The fire continues, smoke obscuring the image, until there is the sound of loud footsteps approaching at a run. The oven door is yanked open.

VOICE [out of breath]: And— and that’s a —

Violent coughing. The video terminates.

*

VIDEO TITLE: How to fix a broken window.

DESCRIPTION: A window is broken so I am going to fix it.

TRANSCRIPT:

The video is clearer, though still filmed at low resolution. The camera is tilted back in view of a broken window. Large shards of glass remain in the splintering frame. The sky is an overcast grey. Shuffling comes from behind the camera before a throat is cleared.

VOICE: Good— good morning. Today is— a window is broken. That’s… that’s not good. Because it goes outside. So anyone could get out. Or … or in. A-anyway. I have… household…

The speaker shakily holds a staple gun in front of the camera with bandaged hand.

VOICE: I tried to sew it, but… the needle broke. And the other thing we needed was… fabric. That you have around the house. Please— please remember, this is a private residence. Okay.

The staple gun is removed and a large piece of translucent, pale fabric, notably marked with brown stains, is held in front of the camera. With rustling, the speaker’s gloved hand holds the fabric up to the window frame. The staple gun is brought up to the gloved hand, and there is over six seconds of hesitation.

VOICE: Oh… shoot.

A third hand, in an ill-fitting black glove, slides into view from the far side of the window. It holds the fabric against the frame.

VOICE: Ah, and then you… just staple it, like this. And like this… over a bit… down…

As they speak, the speaker erratically staples the fabric to the windowframe until the fabric is stretched completely across. It has ragged edges and hangs loosely. The amount of light is greatly diminished. All hands retreat from the frame.

VOICE: Until it’s done. So you can’t just get out.

The speaker’s gloved hand comes back into view, pushing against the fabric with two fingers, outward; it stretches with the pressure, though it is not elastic.

VOICE: Now you can… um… see through it, but not go through it. Ow!

The speaker yanks their hand back, evidently having pricked a finger on the glass. A dark spot remains on the fabric. There is a hiss and whimper before the speaker continues, subdued.

VOICE: So that’s how— how to fix the window.

*

VIDEO TITLE: Cooking with a new ingredient.

DESCRIPTION: I’m sorry.

TRANSCRIPT:
VOICE: —ry again, it’s not wasteful, it’s okay. It’s okay. 

Video begins mid-sentence. The speaker’s voice is distressed and nearly inaudible. The camera is close to a skillet, at an angle. The stove appears to have been cleaned, though it is still crusted with rust and stains. The oil can is on the stove, near the skillet. In the corner of the video is the side of a large pot, with what appears to be plastic melted to the side. There is a white plate with a cut of meat about the size of a thigh ham on it; the meat is resting in a pool of bright red juices. The meat appears fresh. There is a several-second pause before the speaker begins again with a shivered inhalation.

VOICE: Hello, um, today I’m making a… sauté. Ah, I… I don’t like it when anything goes to waste, so I try to use all of it… ah… well, so we’re going to bruise in a skillet.

The speaker picks up the oil can with difficulty and coats the surface of the skillet in oil. While both hands are gloved, a bandage is visible around the wrist of the right hand.

VOICE: The skillet is— it’s already on. So the— oil is so it doesn’t stick.

A nervous laugh. The oil can slips from their grip, splashing oil across the stovetop and meat. The can is shoved out of sight.

VOICE: Then— um— then — salt—

The speaker picks a glass container from offscreen and fumbles with it, dropping it; the meat is covered in a pile of fine salt. There is a sharp intake of breath. The container is snatched from the plate.

VOICE: It’s fine. It’s fine. You’re supposed to— to have it sit in the salt anyway. It’s not bad now. I should cook it and it will be fine. It’s good. It’s good to not be wasteful. I’m sorry. I’m sorry. Just put it in the skillet so you can cook it.

A muffled click offscreen. The speaker picks up the meat and places it onto the skillet. They yank their hand away from the pop and sizzle of oil.

VOICE: Ah— then it’s— two minutes. Just two minutes.

There is a pause of 3:06 while the meat begins to smoke. From this point on the video is somewhat obscured by smoke. The sounds of breathing are audible under the cooking. At 3:49 the speaker very quickly flips the meat over with their hand, then shoves the skillet aside and places the plate atop the burner. The blackened meat is dropped onto the plate, splashing juice across the stovetop.

VOICE: Then it… it’s done. And you… you get to eat it. So that’s good, it’s very, it’s delicious, savor it.

The speaker’s hands return to frame with a fork and knife spotted with white and brown stains. They cut into the meat, shakily piecing out a chunk which is stabbed and lifted out of frame. There is the sound of chewing, followed by a choke and retching. The plate is knocked aside, into the pot, which topples, spilling brown liquid across the stovetop. The contents of the pot roll into view. Fused to the inside of the pot is a melted white shopping bag with distorted THANK YOU written across it in red. Within the bag is a swollen, pink lump with finger- or toenails.

The thin sound of sobbing.

The video terminates.

*

The channel was removed shortly following upload of the ninth video.


© 2020 by Rhiannon Rasmussen

Author’s Note: This story was inspired by the myriad wonders and horrors of internet media. It’s really lovely that so many people are brought together by the ability to post online, isn’t it?

Rhiannon R-S is a nonbinary lesbian who lies on stacks of paper dreaming about teeth. For more writing & art, visit rhiannonrs.com. For shitposts & conversation, visit @charibdys on Twitter.


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