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The music coming out of the old barn at the back of the McNulty property isn't what Marshall was expecting. True, Tod's tastes have broadened and expanded since his first introduction to the Pitbull Surfers, but his preferences remain... shouty.

Marshall can't hear voices at all, only the high, sweet piping of pipes and the frenetic fiddling of strings. He and Simon share a worried glance.

"Fairies?" Simon asks, the word more sigh than statement.

"Let's hope not," says Marshall, handing his trusted associate a fistful of cold iron filings.

They push the doors open, and step into the darkness.


Ongoing Verse: Trusted Associates Inc

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Ongoing Verse: Janet

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The old lady from Grandma's Kitchen wore a frilly mop cap, a matching nightgown, and fluffy slippers. She clutched a tartan blanket around her narrow shoulders and peered out at Tod from behind round wire-rimmed spectacles.

"Excuse me, young man," she croaked, eyes gleaming yellow-green and wicked behind plain glass lenses. "I wonder if you could help me."

Her nails were black and very sharp, shredding the comforter where she gripped it. Her teeth were long and white in a pointed, lupine face.

"My folks used to own a farm," said Tod. "I know how to swing an axe, 'Grandma'."


Ongoing Verse: Janet

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Simon's pretty sure Mr. McNulty is over the whole rock-and-roll-leads-to-devil-worship thing by now, but if he wasn't, the utter lack of interest in the way Harley looks at Tod should put his mind at ease.

"There wasn't enough space in my closet for all the sugar mice," Tod tells him, and Harley blinks eyes blue as a summer sky and doesn't appear to register what he's saying. Tod presses on anyway, and Simon thinks that might be the most impressive thing he's seen.

And he's seen some pretty impressive things.

"So I've moved them out to the old barn instead..."

Ongoing Verse: Trusted Associates Inc

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Their first successful casting was, Marshall would openly admit, also the scariest.

After an entire afternoon watching the smallish, grey-brown rat that Harley had given them take naps, investigate their shoelaces, and wriggle it's nose at their incantations in a way that indicated it found them subpar at best, they'd initially dismissed the rumbling noises outside as a harvester working in the nearby fields.

The flood of sleek furred bodies and bald, twitching tails that burst through the rotting boards of the McNulty's old barn was exactly what they'd wanted, but that hadn't stopped all three of them from screaming.

Ongoing Verse: Trusted Associates Inc

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An awkward silence followed, during which Marshall thought of several things to say and couldn't bring himself to say any of them.

"Anyway," said Tod, his voice brittle at the edges and full of a forced brightness that did nothing to hide the shadows.

He coughed and tried again.

"Anyway, I was waiting in the alley, and I was going to talk to the Grandma when she finished with the Tostwich, but then that old guy who runs Everything Corn comes out and starts asking questions about inflatable animals, like have I seen any and do I work for them."

Ongoing Verse: Trusted Associates Inc

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Ongoing Verse: Janet

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Tod turned back, carefully balancing a plastic tray in one hand while he closed and locked his bedroom door with the other.

"Mom made us sandwiches," he said, setting the food down on a small desk covered with papers, and taking one of the two cans of off-brand soda for himself.

"Cool," said Marshall. He took the other can, opened it, and stared into the carbonated depths for a moment.

"How are your folks doing, anyway?" he asked, his tone studiedly neutral and fooling nobody.

Tod took a long sip of his soda.

"Better," he said eventually. "They're doing better."

Ongoing Verse: Trusted Associates Inc

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The knock at the door startled them both. Tod leapt to his feet, grabbing a handful of neatly-hung t-shirts in various shades of black and wrenching them across the clothes rail with a loud, rattling screech.

"Just a minute," he called, arranging the jangling coathangers so that the clothes draped over the front of the cage.

He reached for the doorknob just as his mother knocked again.

"Tod? I was wondering if you and your friends would like something to eat?"

Tod opened the door and popped his head out. Marshall heard a few muffled words exchanged, then departing footsteps.

Ongoing Verse: Trusted Associates Inc

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The cage fit snugly inside the space at the back of the deep cupboard, it's sides grazing the walls, the roof barely skimming the clothing rail.

Inside, a single solitary sugar mouse sat on it's haunches, face turned towards the open door. It was busily grooming itself, running tiny front paws through whiskers so finely spun that they might have been invisible if not for the fact that the entire animal glowed a bioluminescent green.

"He stowed away in my backpack," said Tod. "I hid him, built the cage out of some scraps my dad kept in the old barn."

Ongoing Verse: Trusted Associates Inc

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With what had to be a triple-figure number of band shirts pushed out of the way, Marshall could see thin shafts of sunlight piercing the gloom inside the closet.

"You drilled holes in your wardrobe," he said, equal parts appalled and impressed.

Tod shrugged.

"Turns out, my parent genuinely can't tell the difference between rock and roll and power tools," he said. "I thought they were having a dig, but no, they're just old."

He reached into the gold-flecked dark and wrapped his hand around something heavy that rattled and sang like wire fencing in a high wind.

Marshall gasped.

Ongoing Verse: Trusted Associates Inc

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"Thanks," said Tod, with the sort of sincerity that reminded Marshall of his first meeting with Sara Sue and, uncomfortably, a lot of his interactions with Simon. He shook his head, hoping to dislodge the unwelcome thought, and asked instead about the mice.

"Okay," said Tod. "First of all, you have to promise not to tell my parents about this. I'm not supposed to have food or pets up here."

"I promise," said Marshall, wondering if the potential groundings for breaking both rules at once would run concurrently or consecutively.

Tod opened his wardrobe, pushing back layers of black fabric.

Ongoing Verse: Trusted Associates Inc

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Tod set the tall glass mug down on his parent's kitchen table, his lips pressed tight in a thin line of anxious concentration.

The liquid inside was the same deep, rich brown as the fresh-tilled earth on the farm his family no longer owned, and masses of tiny bubbles had formed round the edges of the cup. Steam wafted from it, thick with the bitter-sweet scent of dark chocolate.

He picked up the ramekin of freshly-chopped hazelnuts and took a generous pinch, reconsidered, and replaced it with a second, much smaller, pinch.

Deep breath. Don't rush this.

He wrapped his free hand around his wrist to still the tremor that had developed there, and let fall a single fragment of hazelnut.

It landed neatly in the very centre of the mug's wide circular mouth. Dipped a little. Rose slowly back to the surface. Bobbed there.

Remained.

He let a couple more pieces drop, then, giddy with excitement, released the rest.

The hot chocolate sat before him, thick as one of Mister Radford's milkshakes, hazelnut sprinkles floating atop it like body parts in the Eerie Municipal Pool. A triumph.

"Yes!" he cried, his voice shockingly loud in the silent house. "Yes!"

Ongoing Verse: Janet

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I'll try to eliminate any confusion regarding this episode right off the bat here: This is the nineteenth, and final, episode of “Eerie, Indiana”. It was not originally the final episode, that title going to the excellent “Reality Takes a Holiday”, however “Broken Record” was added to the rotation after the show was syndicated. So, technically, this one is kind of like a bonus episode, especially considering Dash-X is nowhere to be found for the first time since he was introduced.

“Rock n' Roll Has Come To Eerie” exclaims a new sign being raised at the World o' Stuff. That sign is a reference to the “Pitbull Surfers”, a popular metal band that finally ends up in the small town...it seems that Eerie is the last to get everything. Marshall suggests the band's new album, "Eardrum Lobotomy", to his friend, Tod McNulty; his family lost their farm a while back, and his father is still out of work, so he figured some aggressive music might take his mind off things for a while. (Sample lyrics from the titular track include, “No one understands you, no one digs your dream, just crank up the music, don't want to hear your parents scream. What you need is eardrum lobotomy, eardrum lobotomy, yeah, yeah, yeah!”)

Tod, Marshall, and Simon go back to Tod's house, where he breaks out his old record player and throws the record on. And that's when his father Phil storms in, calling him a “loser” and accusing him of polluting his mind with mush. Whoa, whoa, whoa, those are some harsh words coming from a guy who can't even take care of his family by finding a job! Tod's mother storms in, interrupting her husband during his brutal tirade, and wondering why he's been acting that way; Tod leaves the room crying, leaving Marshall and Simon stuck in the room with Tod's parents. Talk about awkward. The duo excuse themselves after the parents notice them standing there.

Rather quickly, the band's music takes hold of Tod, who starts dressing like a “punk”, complete with black shoe polish in his hair, and a Pitbull Surfers T-shirt; he desperately wants to see PS in concert, as they are playing in Indianapolis soon, and he feels like it's his duty to see them live. He asks Marshall to go with him, but Marshall says that he always thought their pro-Nazi viewpoints were meant to be taken as a joke, an idea that offends Tod (“They tell it like it is!”) who still plans on hitchhiking to Indianapolis to see the show. That plan is quickly derailed when he sees his parents looking for him, forcing him to switch to plan B: Get home before they do. So he steals a milk truck in a desperate bid to beat his parents to the house—a plan that backfires miserably when he crashes the damn thing.

With Tod on the way to the hospital (more as a precaution, as he is not seriously injured), the police officer on scene (whom Syndi is shadowing for a school project) has to let his parents know about the crash. Immediately, his father assumes it was the music that was taking over his mind, and attempts to prove to the officer that there are subconscious evil messages embedded in records when the vinyl is played backwards. In an interesting twist, what he hears is evil, all right: it's recorded passages of him constantly berating his son, which breaks him down until he finally realizes the error of his ways. And with that, he apologizes, and we assume everything is returned back to normal.

Some of it, especially in the beginning, is heavyhanded and a little too “in-your-face” in execution, though the central themes (alienation, music as therapy, etc.) remain relevant as they always will. The relationship between Tod and his parents, though, is once again a step above normal family fare in that it feels fleshed out, or at least as fleshed out as a 24-minute episode can be. The family dynamic is also refreshing; far too often in media it seems that the mom turns a blind eye to everything and lets the dad do what he wants. But here, the wife is constantly defending her son; there is a surprisingly tender moment where she appears in his bedroom, apologizing for his father's behavior, and assuring Todd his father loves him. Todd then asks, “Well then why doesn't he tell me that himself,” to which the mother replies, “I don't know,” with a look of absolute devastation. It's far more hard-hitting than expected, and somehow works.

I didn't remember being too enthralled with this one the first time I saw it, but I have to say that it's a good overall episode, despite its occasional over-the-top approach. It's definitely not worthy enough to be the series finale (it should have aired earlier in the series), but it's entertaining and heartfelt, with the usual splash of comedy thrown in for good measure. Now that I think about it, this would make a good “starter episode” for those looking to get into the series, because many of the show's strengths are on display here, and with the added bonus that it would leave "Reality Takes a Holiday" as the final one, the way it was meant to be. It's worthy of a watch, especially if you missed the episode during its initial run.

EPISODE RATING: 7/10
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Winter Solstice (627 words) by Deifire
Chapters: 1/1
Fandom: Eerie Indiana
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Relationships: Marshall Teller/Dash X, Edgar Teller/Marilyn Teller
Characters: Simon Holmes, harley holmes, Edgar Teller, Marilyn Teller, Marshall Teller, Dash X (Eerie Indiana), Janet Donner, Ernest Wilson, Bertram Wilson, Phil McNulty, Mayor Chisel, Bartholomew J. Radford, Elvis (Eerie Indiana)
Additional Tags: Future Fic
Summary:
In his home in Eerie, Indiana, thirteen-year-old Simon Holmes wakes up with a start...

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