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Preview of CHAPTER TWO (Continued)


TERROR BLOODLINE Series Book 1


CROSSFIRE   Book #1




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CROSSFIRE  Book #1 


Terror Bloodline Series

Featuring Ex-CIA Agent, Jon Bradley



By Paul Rodricks


International fast-paced Action #Thriller 

# Suspense #Adventure 

#Crime  #Mystery


Reviews: 


"The fact that it is the first of three books makes Crossfire all that more compelling plus it's a fun to read. Paul POV shifts from telling a story to the illusion of real time which creates a healthy tension throughout. One of the finer elements in the book that helps make it authentic is the authors knowledge of the geo areas where the story takes place."


"The novel is multidimensional. There are several plot elements working simultaneously that the author handles with skill. The murder of his friend and the personal relationship between Jon and his lady friend, a rape victim, add depth to the novel. The story shifts between the current investigation and his previous, very dangerous, actions in Lebanon as a CIA operative."


Read here the Preview of the CHAPTER TWO (Continued...) from this book, CROSSFIRE:


    Reznik and the female Kidon got out of the car and they walked away, keeping to the shadows until they came in the view of the house.

    The woman ran swiftly up towards the elevated driveway and dropped to the ground, screening through the night-vision scope, mounted on her sniper rifle, for any signs of activity around or inside the house.

    She saw nothing suspicious and waved to Reznik to advance, who in turn signaled the waiting team.  Silently, the men spread out and started to cover the front and the back of the house.

    Just then, a dog started barking fiercely. The sound came from the direction of one of the neighborhood homes.  It stopped just as suddenly as if its owner had quieted the animal.

    But the next instant, Eli and his team were startled to see the lights come on, brightening up the front yard of that house, and the dog started barking again.

    Reznik feared they would stand out as shadows in front of the terrorists’ house to anyone surveying the area.

    Reacting swiftly, he and his men dropped to the ground.

    The female Mossad agent put down her sniper rifle and walked hastily towards the house in the neighborhood. As per their briefing, she knew that the residents were a widow and her visiting son from L.A.

    Both were standing at their front door and turned to look towards the woman who was walking up their driveway, same time trying to quiet down the dog. The animal stopped barking, but continued to growl by the time the Kidon reached them.

    Waving at them and acting friendly, the operative put on her best appearance.

    “Hi,” she called out.  “Can I use your landline?  My car has run out of gas and it appears that I forgot my cell phone at my friend’s place who I’d just visited.”  She pretended to look helpless and a bit naive.

    The older woman was hesitant, but the young man appeared only too willing to help the maiden in distress.

    “Yes, of course, you certainly can,” he replied with a bright smile, motioning her inside, “Come.  I am Tony and this is my mother, Isabel.  She doesn’t keep very well these days, and I am visiting her for a few days.  This way, please….”

    Reznik took a quick decision before the terrorists could awaken to the noise outside.

    His operatives ran forward swiftly, surrounding the terrorists’ house.

    Eli and two others from his team had just approached the front door, when the lights in the adjoining apartment lit up, the window opened and the figure apparently that of the landlord appeared peering into the front yard.

    He must have noticed the shadows of Reznik and his men because he at once raised the alarm, shouting in a heavily-accented voice, “Minoo…? Who…? Who is there?”

    Then probably realizing the truth, he ran inside and started to bang loudly on the wall separating the Jihadist side of the house from his. His public landline access had been disabled by one of the Mossad agents.
    
    Lights began to come on inside their apartment and voices were calling out to awaken each other.

    Having lost the element of surprise, the Mossad operatives went into a mini version of a blitzkrieg.

    One of the Israeli agents shot and brought down the landlord, who had returned to the window, trying to raise the alarm.

    Reznik and the other agents blasted open the front and rear doors using low intensity plastic explosives. The ground-floor side glass-windows were shattered open and stun-grenades lobbed inside.

    There was a steady firing of AK-47 machine guns coming from the Jihadists inside the house who were by now thoroughly alerted.

    As the Israelis rushed inside the ground floor area consisting of the living room, and kitchen, they found one extremist lying on the ground. The remaining three Jihadists ran up the stairs shooting as they went and regrouping on the first floor.

    While Reznik’s team kept the Jihadists occupied in the firefight, an agile Kidon climbed the drainpipe running up the first floor on the exterior of the apartment. Then he blasted open the side glass window and tossed in a fragmentation grenade followed by another one in quick succession.

    Seconds later the shattering serial blasts shook the upper floor. 

    Reznik and his team went up the stairs shooting with their silenced Uzi short-barrel machine pistols.  When they reached the first floor landing, there was no sound except the smoke and the acrid smell from the grenades blast.

    There, they found the three dead bodies of the would-be suicide bombers.

    The action had lasted no longer than 180 seconds.  Another minute was spent in hastily combing the area for any evidence they could find such as drawings, maps, photos, written notes etc. before the professional covert operation ended and the team players, without suffering any casualty, quickly withdrew from the house.

    Importantly, they had captured one of the Islamic Jihadist who would be subjected to the Israeli art of investigation for retrieving details of the suicide mission. 

    Meantime, lights were coming up in the apartments of the adjoining blocks and the neighborhood houses; windows and doors were being opened and voices raised protesting against the foul disturbance in the middle of the night. 

    The police dispatchers were kept busy receiving and answering numerous and persisting calls about the public disorderliness in the Yonkers locality.

    Alerted by the twin roar of the Peugeot car-engines being driven up the driveway towards them, Reznik and his men ran towards the vehicles, dragging between them the still unconscious Jihadi, who appeared to be handcuffed. They bundled him in the second car.

    Reznik nodded to the female Kidon as he took his seat beside her, and seconds later, both the Peugeots drove swiftly away from the area. 

    Minutes later when they came up the junction connecting the highway, the fleeing Mossad agents could hear the faint sound of the patrol-car siren getting louder as the police approached Yonkers. Unperturbed, they drove on towards the safe house in the N.Y. City. 

    Before that, they would change the present vehicles for two SUVs while the Peugeot cars would be driven away to a safe garage-location by the local Sayanim, to undergo the required alterations.

    By 5:30 A.M. of the same morning, Reznik, and the other three Kidon operatives were flying out of the New York City and soon the United States airspace as well, on their way back to Tel Aviv, Israel.

                                            ***


NEXT: CHAPTER THREE





















    

















    







Preview of SECTION 1 (Continuation...2)


CREATIVE SONG LYRICS

Self-teaching Manual



Releasing Soon 


Self-Teaching Guide to

WRITING SONG LYRICS

By Paul Rodricks

    Have you ever felt the urge to write your own songs?
To compose your own lyrics and melody?
    Are you a lyricist wishing to set music to your lyrics?
Or a music composer desirous of writing the lyrics to
your music? 
Or a music lover and hobbyist wondering how songs are crafted?
    If so, Creative Songwriting is just the right practical
self-teaching manual for you. Because Songwriting has
never been made so easy and simple.



CREATIVE SONGLYRICS

     Is all about Lyrics Composing – Song forms, Title/Hook lines, Storylines and Themes, Rhyme Scheme, Crafting the Verse-Chorus-Bridge-Tag, Song Performing Styles and much more.
  
     The latest in Gospel/Worship Songwriting is also presented in a whole separate chapter devoted to it in this book.
  
     Become a successful Songwriter.  Compose your own Lyrics and Music to styles such as Pop, Rock, Blues, Country, R&B, Jazz and Gospel.



Lyrics: The Composition

Section 1 (Continuation...2)

“The soul never thinks without a mental picture.” 
– Aristotle



Here's a Preview of the SECTION ONE (Continuation...2 from the Creative SongLyrics Manual:



Popular Forms of Lyrics (Continued)


3. AAA, the trade-mark of the popular Blues song form. Where every verse follows the other and normally lasts for 12-bars:

Verse 1:

    Well now, it's three o'clock in the morning 
    And I can't even close my eyes. 
    Three o'clock in the morning 
    And I can't even close my eyes. 
    Can't find my baby 
    And I can't be satisfied

Verses 2 & 3 follow in the above format.

Some Blues songs last for 16-bars and modern blues songs can extend beyond 24 bars.

4. AACA format has a Bridge in place of the usual Chorus after the 1st and 2nd Verse, then followed by the 3rd Verse.
    The following example is of the AACA song format which gives you a general idea of the other formats as well. Song Title: “True Confession” Copyright 2002 Paul Rodericks.

Verse 1:
True Confession
The song as you sing
Your heart pleads silently with mine
For the love you once abandoned 
True confession
I mustn’t feel this way
This feeling of past obsession
No, not on my wedding day.
Verse 2:
True Confession
We have shared good times
And today you're here as the best man
We've no other obligation
True Confession
You will find someone to love
Beyond the point of no return
As long as she trusts you enough
Bridge:
True Confession
I cannot be your partner
Any more in love nor share your pain
Our distant feelings of love will always remain
As silent whispers of our hearts.
Verse 3:
True Confession
The man I marry today
Is the one who will share my life
No reasons for temptation
True Confession
Maybe you’ll know this someday
When your heart whispers again
To another on your wedding day.

5. ABC format, meaning: A - the Verse, B - the Pre-Chorus and C - the main Chorus. In this form, the pre-chorus section is a shorter interesting version, which attracts the listener‟s attention, leading into the main chorus of the song. Lyrically, you make an interesting point here before going into the chorus, and for a musical appeal a contrast by way of a short riff or chord-change, for example:
Song Title: “If She’d Only Give Me A Choice”

After the Verse A:
Pre-Chorus or Bridge:
I would never think of leaving her
If she’d only give me a choice
We would never be in this situation
If she’d only give me a choice
Chorus:
If she’d only give me a choice
I would not be in this situation
With the kind of person she is
Past caring and so selfish
I‟ve simply lost the will to rejoice
If she’d only give me a choice.

* * *

NEXT: Musical Embellishments to Song Form:
               Instrumental:



Available FREE Digital copy for REVIEW

Contact Author

                                 
or use the

CONTACT FORM




Your comments and views will be appreciated,


Paul Rodricks, Author.

Preview of SECTION 1 (Continued)


CREATIVE SONG LYRICS

Self-teaching Manual



Releasing Soon 


Self-Teaching Guide to

WRITING SONG LYRICS

By Paul Rodricks

    Have you ever felt the urge to write your own songs?
To compose your own lyrics and melody?
    Are you a lyricist wishing to set music to your lyrics?
Or a music composer desirous of writing the lyrics to
your music? 
Or a music lover and hobbyist wondering how songs are crafted?
    If so, Creative Songwriting is just the right practical
self-teaching manual for you. Because Songwriting has
never been made so easy and simple.



CREATIVE SONGLYRICS

     Is all about Lyrics Composing – Song forms, Title/Hook lines, Storylines and Themes, Rhyme Scheme, Crafting the Verse-Chorus-Bridge-Tag, Song Performing Styles and much more.
  
     The latest in Gospel/Worship Songwriting is also presented in a whole separate chapter devoted to it in this book.
  
     Become a successful Songwriter.  Compose your own Lyrics and Music to styles such as Pop, Rock, Blues, Country, R&B, Jazz and Gospel.



Lyrics: The Composition

Section 1 (Continued)

“The soul never thinks without a mental picture.” 
– Aristotle



Here's a Preview of the SECTION ONE (Continued)
from the Creative SongLyrics Manual:


Popular Forms of Lyrics (Contd.)

     2. ABABAB - wherein you have the 1st Verse-Chorus-2nd Verse-Chorus Repeat-3rd Verse-Chorus Repeat,
OR the most popular form which is: ABABCB - a Bridge (of 4 to 8 lines) after the 2nd Chorus-Repeat. Sometimes, though, the Bridge takes the place of the Chorus-Repeat after the 2nd Verse (ABAC).
     The variation may depend on the duration of the song and generally the particular genre or style it is meant for, viz. pop, rock, country, R&B and others. This is really a matter of choice for the songwriter and finally the performers.

     *Any song that has a Chorus may or may not start with the Chorus before the 1st Verse. Many popular songs actually do so, for a specific effect.

     Example of BABABAB Form: Song Title: "Man, When She Walks" Copyright 2002 Paul Rodericks
   
Chorus (B):
Man, when she walks, oh can she swing,
Heads turn, heartbeats swaying,
She cuts the mood, wishing ya' could,
Be her dude for just one evening.
Verse 1 (A):
She's a goddess on a swing, believe me,
Her come-along look leaves ya' guessing,
Is she inviting ya' or merely teasing,
Man, when she walks, oh can she swing!
Chorus (B):
Repeat
Verse 2 (A):
She's known to have had men aplenty,
Only to love, then jilt 'em - oh, really?
I just don't care even to be her plaything,
Man, when she walks, oh can she swing
Chorus (B):
Repeat

The above is followed by a 3rd Verse (A), the Chorus (B) is repeated.

     Example here of ABABCB Form: “A Solitary Silhouette”, Copyright 2006 Ester Sterling - Paul Rodericks

Verse 1 (A):
Gray is all that she what she wore
Debonair as the moonlit glow
Amidst flaring embers of her cigarettes
A solitary silhouette.
Chorus (B):
A solitary silhouette
Wrapped in Gray
Puffing clouds of smoke at Midnight
As un-caring, as her cigarettes
She has a tale, she can't re-call,
And sleep, she can't at all
Her feelings dry as a desert
A solitary silhouette.
Verse 2 (A)
For a moment in her time
Enters a shred of peace of mind
And the stirrings of forgotten desires and yet
A solitary silhouette.
Chorus (B):
Repeat
Verse 3 (A):
Is she the images I cast
The reflections of my past
The life I don't know and so can't regret
A solitary silhouette.
Bridge (C):
My life drifts on an outline
Past or new, have yet to find
But it is mine, only mine...
To create and design. .
Chorus (B):
Repeat


                                     To be continued...


Available FREE Digital copy for REVIEW

Contact Author

                                 
or use the

CONTACT FORM




Your comments and views will be appreciated,


Paul Rodricks, Author.