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Bewilder Bird sobbed silently but violently. His large shoulders heaved up and down as the tide of his grief washed over him like a stormy sea. To begin with, he picked and pawed at the pile of rubble, dislodging a brick here and bit of plaster there, but clearly nothing was going to move and so he gave up and was now just standing and sobbing and staring.

When this book is made into a film, this will be the moment when the camera pulls back to show us Ellis and Bewilder Bird standing on either side of the same frame with the pile of rubble in the middle of them. And when we see this set-up we, like the critics who will review this film once it is released, and review it favourably, will understand that we are watching the two friends united in their loss of Falcon Boy but separated by their grief.

At this moment, we also have to understand that without Falcon Boy, there was no longer any reason for Ellis to be here alone with a grown man wearing a badly-fitting superhero outfit with a foolish pair of bird-claw-boots that always trip him up.

By the same token, of course, without his foolish friend with the hairy top lip and the crazy dreams, there was no reason for Bewilder Bird to be standing in front of a pile of rubble with a young child who had somehow been allowed to escape the attentions of her parents.

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Published by Barnaby Taylor

Barnaby Taylor is a multi-talented author and artist whose work spans a range of genres, including fiction, non-fiction, and experimental film. He is best known for his writing guide How to Write Something and the popular VIRO series, both of which showcase his passion for storytelling and his gift for engaging and informative writing. In addition to his writing career, Taylor is also an avid enthusiast of artificial intelligence, 1950s Japanese cinema, gaming, and rare soul music. When he's not writing or making films, Taylor can be found exploring new technologies, immersing himself in his favourite hobbies, and spending time with his loved ones.

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