Cabin Visit

Authors Notes: None of the events portrayed in this story are true. Nothing should be read into the plot or themes. Just a fun idea that was played with to come up with an erotic story.

Nick Continues by telling Shelley's story.

Introduction

Michael looks at the reflection of his father's face in the crystal clear window of the Dinner.

'You know there is one story that almost tore Shelley and Aunty Aurora apart.' Nick says. 'The story should never have come out. And it did not for a long time. When it did come out, Shelley wanted to tell it on her terms.'

He did and as the story flows out in Nick's words, Michael recalls how his mother told it.

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Part 3: Shelley's Visit to the Cabin

Shelley pulled the rickety soft-top canary yellow International Scout Two off the state highway onto the dirt road. Aurora had given her all the instructions she needed and warned her about taking Boris on the road again. Shelley did not listen. Summer had flowed into an unusually warm Fall and Boris made it through another year of warmer summer days in their idealistic mountain world. Boris will be put away for the winter, his fifty-year-old joints do not like the cold. But if Shelley was going to take up Aurora's offer of a mid-fall trip to the cabin, Boris saw going to get her there.

As Boris and Shelley wind through the forest on the side of a remote mountain dirt road, Shelley is grateful for the friendship she has forged with Aurora. Initially a business relationship, Aurora runs a gallery out of a local indigenous resort.

Shelley started painting again on mass after she spent Christmas with Nick and Kelly. She felt inspired and rejuvenated after the first Christmas in the hotel room with Nick, but never got that thing after he was gone. Kelly and Shelley had spoken about their lives. She never spoke about her love of art, the fact that studies and career had stifled it. Nick was always listening, he told them not to allow life to get in the way of art. He quoted a Mid-Summer's Night's Dream. "The Object of Art is to give Life a shape". Nick inspired the artist in Shelley, while Kelly spoke about all the wonderful world galleries they visited. The way she spoke about art moved Shelley.

Aurora mostly features indigenous artists but keeps some local artists on the books. Strict criteria, the artists have to paint the relationship between life and nature. That is what attracted Shelley to Aurora. Her finely detailed watercolors and landscapes. Most artists thought they had to produce big bold paintings to be sold at the resorts, but Aurora knew she needed a mix. The big pieces got them in the door before sticker shock brought them to the smaller works. Shelley did it as a hobby, so turning over small works was easier. But Aurora was being asked for more of Shelley's works, more commissions. Her answer, convince Shelley to take three weeks' leave from her nursing job to spend at Auroro's family cabin in the mountains.

Shelley had not seen the cabin but heard the artists Aurora sent here found an explainable energy that inspired them to create. She did not know if this was true, but the closer Shelley got to the cabin the more she felt a deep down warmth. She wanted to break out the watercolor paints she dared to bring with her. But was also curious about the content of the box Aurora had her brother Joseph throw on Boris' back seat at the last minute along with half a dozen large-sized canvases. Shelley did not paint at that scale and she could smell the acrylic paint over the oil leaks under Boris' hood.

The days are warm in the western-facing valley where the cabin is located, but as Shelley arrives she can feel the chill of the mid-fall nights coming on. The road loops around one side of the valley and over a worn concrete causeway that has a thin layer of water flowing over it. Shelley pauses for a moment midstream to look at the waterhole created by the causeway. She had an overwhelming urge to undress and dive into the crystal-clear mountain water. The urge is only overcome by a splutter from Boris telling her it is time to get him parked up for the night and a fire starts to warm the cabin.

Joseph let her know there was more than enough wood cut and ready to keep her comfortable. He is Aurora's little brother, but at times he can be very thoughtful and incredibly sexy. It is his job to keep the family cabin maintained and ready for use year-round. A task he prides himself in doing well.

As Boris chugs up the other side of the creek they both see the cabin for the first time. It is an oil painting picture of what Shelley imagined it to be. Before them is a prairie cut out of the old-growth forest. Inside the boundaries of an aged grey natural timber post and three-rung farm fence is a luminous green blanket of grass littered with tiny pink and purple summer flowers that remind Shelley of the fabric of her favorite sundress Nick bought for her. Snaking up the middle of the raising paddock is a well-maintained orange gravel driveway that leads from the front gate to a large log cabin at the top of the valley.

As Boris crunches his way over the stones, Shelley can imagine naughty fairies and cherubs dancing naked among the flowers. She feels an energy building inside her.

Boris comes to a halt at the bottom of the timber stairs leading the the cabin's deep front deck. Shelley slides out of the vinyl front seat, taking a deep lung full of the fresh mountain air but tasting a hint of hot oily Boris. He needs to rest after a day of driving.

The other thing Shelley feels is the slow creep of the late afternoon chill. She looks down at herself, a caricature of quintessential Americana. Her outfit is not appropriate to wear for the chill of a mountaintop Fall afternoon. She can not help it, whenever she takes Boris on a summertime road trip she has to wear it. Weathered red and brown shortie cowboy boots. Bare legs up to the highest of high thighs terminating in almost threadbare Daisy Dukes that show enough bottom-arse cheek to knock over a lineup of county cops. A light grey Rolling Stones 1978 tour T-shirt that is two sizes too small so it shows off her mid-riff while holding her ample breasts in place without the need for a bra. Her fiery red hair in a messy top bun falling in uncontrolled directions.

Shelley recalls fondly putting this outfit on for Nick. She should not have had it with her that first Christmas, as this was Boris' outfit, but she did so and could not let it go to waste. She was sure Boris would not mind.

As she unloaded her three weeks supplies from Boris the afternoon quickly slid into a cold evening. The last thing Shelley did outside was pile an arm full of cut timber against her Rolling Stones T-shirt, squeezing her breasts, to fill the basket beside the open fire. As the fire slowly took hold Shelley changed into her warm comfy sweets. She usually does not eat much after a long day of traveling, so settles in beside the fire with a spread of cheese, dips and dry crackers to be washed down with a generous-sized glass of red wine.

The fire warms the cabin, holding back the oncoming cold of the mountain night air, Shelley picks up a sketch pad and pencil to start to visualize the sensations she felt coming onto the prairie. Her mind starts to blur from a mix of the heat of the fire, the effects of the cheap wine and the pulsing feeling from the land. With the room heating up, Shelley takes off her sweat top to reveal her naked upper body. She does not usually wear anything under the sweats, preferring the sensation of the fleecy upper lining on her bare skin.

Shelley's artistic passion starts to flow as her mind moves her out of the space her body occupies. Leaning forward her hand takes a lump of charcoaled timber from a bucket beside the fireplace. She used the charcoal to express the feelings in her body and head. Smearing the black dust over the sketch pad with her hands. The room gets hotter as Shelley whiles the back of her hand over her forehead to whip the sweat away. The erotic sensations flowing through her make Shelley hotter, taking off her sweat pants to sit naked in front of the fire creating images of naked bodies wound around naked bodies in charcoal on the pages of the sketch pad. She feels her body tingle, rubbing charcoal over her breasts to feel the sparks on her hard nipples. The pages keep being filled as Shelley's mind starts to feel the bodies she is sketching against hers. She lays back on the rug in front of the fire to touch herself with her charcoal-covered hands. It is not long before an intense orgasm rocks Shelley's body.

...

Shelley wakes the next morning to the last glowing embers of the fire drifting away. She is on the big bed that dominates one-half of the open cabin. The sheets are covered in smudges of black dust, as too is her body. She vaguely recalls the events of the night before as she rolls over to look at the time on her new phone. There are sheets of charcoal-covered sketches all over the cabin and her phone looks like it has been dusted for prints after a crime.

A moment of panic goes through Shelley. Did she use the phone last night? Who did she communicate with? The phone is new. A Nokia beta model was sent to her as a gift from Nick. He was working with the latest iteration of the Nokia brand to develop security systems for a new phone to be launched in the next year. Shelley was one of his trial subjects as she was able to break any and all digital technology. A talent she called it.

The photo gallery on the phone shows how erotically overwhelmed she became the night before. Photos of her rolling around on the white sheets of the bed, her body covered in streaks of black soot. Social media. Shelley opens all of her accounts, no posts but she can not connect to check. Recalling Aurora mentioned the cabin does not get cell phone coverage Shelley relaxes. The private messenger system Nick installed? Oh no. Shelley opens the chat with a degree of hesitation. A new message to Nick. Shelley looks, the text is almost incoherent. Something about wanting to get fucked up and fucked all over with him. The photos are the best, or worst, of the previous night's collection. Her heart sinks. She has spent the last year trying to get over Nick, but this demonstrates to her that she has a ways to go. She is relieved to see the chat messages were not sent without coverage. They are deleted before they are sent into the either.

After cleaning the cabin the day warms up so Shelley opts to see out her internal embarrassment beside the creek. Aurora told her there was a well-stocked Pochade box in the cabin's study that she could take to the creek. Shelley checked it out, full of acrylic paints, brushes and two canvas boards. She puts on her favorite red string bikini and pulls the Daisy Dukes over her hips before walking barefoot over the soft green grass of the prairie to the shadows of the tree at the edge of the creek. Despite the altitude, the walk warms Shelley up so she has no hesitation in jumping into the cool creek water.

After swinging around for a while Shelley finds a comfortable spot on a grassing knoll to set up her painting. As with the night before she is filled with the energy of the land around her. The bold acrylic paints do not lend themselves to her usual fine watercolor style. This does not stop Shelley, from leaning into the painting with passion, creating a bold textured painting of the creek scene. It is not until a few hours later as she walks the short distance over the soft grass to the cabin that Shelley realizes how much paint she got on herself.

Once back into the cabin, she cleans the excess paint off her body but does not scrub herself clean as there is no one else there to impress.

Shelley spends the next week making the most of the artistic inspiration of her mountain hideaway. Days spent beside the creek with watercolors and acrylics. Nights spent in front of the fire with pencil and charcoal. She wakes early one morning at the start of her second week in the cabin to the first day of a dull overcast mountain. Knowing for a day or two that she will need to top up some of the perishable supplies, Shelley chooses to head to the heated outdoor shower to fully wash her body before heading down the state highway a few miles to a small mountainside village Aurora told her she could get good supplies. As she stands out in the open under the shower washing her naked body Shelley works out her shopping list in an attempt not to touch herself to the point of arousal as she may never get Boris started.

As it was, she needed the time. Boris had not moved for over a week and was determined to stay asleep. It took a few kicks to get him started and a good while before he could warm up.

Aurora's description of the little town was spot on. Perches on the side of a mountain spanning either side of the two-lane highway was a village that could be straight out of any central European alpine village. It was not a big town. A general store, bakery come cafe, dinner come restaurant, mountain gear and hardware store and a Germanic pub. On either side of the strip of shops was a hand dozen houses most of which ran bed and breakfast businesses for the passing tourists. Outside the general store was Shelley's only connection to the outside world, a lone phone booth. She had promised Aurora that she would check in if she came out of the cabin for supplies.

As Shelley stood in the phone booth waiting for Aurora to pick up her end of the deal she watched two workers scrambling over the roof of one of the large B&B houses a few doors up. They looked young and strong. Shirts off and bodies glistening with perspiration despite a cooler day. They look to be racing to complete some roof repairs, Shelley wonders if the weather is due to change. As the other end of the phone picks up.

"I know this is Shelley because Joseph should still be on Mrs Johns's roof getting it weather-tight before the storms arrive. I told him not to come day." Aurora blurts out without even a hello. Shelley realizes one of the hot sexy bodies she is getting wet to is Auroras' little brother Joseph.

'Yes. They are still working hard on the roof.' And making her nipples hard Shelley things but would not dare to say to Aurora.

"How is the cabin? Actually, there's no need to tell me, Joseph was up there just before you arrived to make sure it was perfect. That is the reason he is on the roof. As he was leaving I had a call for help. Poor old Mrs Johns had a leaking roof and needed it fixed. So I made him stay." Aurora does not take time to breathe. "Now. Get extra supplies. They have forecast the weather to close in for a few days. Warnings out along the range. Do you want me to send Joseph up after dark to get more wood inside?"

Shelley has no chance to even stop her, so she yells. 'No. Sorry. I'll be alright. Been warm so do not expect that any change will be too bad. I'm a big girl. But thank you for the offer. Joseph looks like he needs to focus on the roof.'

"It had better not be all off still.."

'No. No. That is not what I meant. Just, we want to make sure Mrs Johns' roof is triple-checked.' And Shelley knows the way she is feeling at the cabin and the way Joseph looks right now, he may be distracted if he visits whether he likes it or not.

"Ok. But do not be a hero. Things change quickly up there."

Shelley smiles as she thinks of her level of arousal while at the cabin. 'Yes, I'm sure they do. Got to go. Need to get supplies and a few bottles of Red.' She hangs up before Aurora can replay. She collects her supplies from the general store and can not help but stop out the front of Mrs Johns' house to say hello to Joseph. As he climbs down from the roof his tight olive-skinned body shimmers, causing Shannon to feel butterflies between her thighs. She can not stay as long as she would like, the dark clouds of an approaching storm can be seen on the horizon and she does not want to be caught out or caught preventing Joseph from finishing his work.

_____

Back at the Cabin Shelley backed Boris up to the front steps facing downhill in case she needed to bump-start him next time. As she loads the supplies Shelley recalls Joseph's final advice before leaving the village.

"If the storm starts to funnel towards the bottom of the valley close the storm shutters across the front of the cabin and bring in a few days worth of wood for the fire."

As she drove away from the village she wondered how she would know if the storm was funneling. But at that moment she knew. The dark purple-grey rolling cloud front swirled like water draining from a sink toward the bottom of the mountainside valley. Shelley's instincts took over as she slammed shut Boris to race along the front porch of the cabin. Each of the heavy storm shutters swung silently into place and bolted shut tight. She was impressed with Joseph's workmanship. As the temperature dropped and the wind started to pick up Shelley ferries handfuls of firewood from the large stake against the barn into the cabin. As the squalling wind started to bring with it flutters of snow Shelley had to concede, hoping what he managed to bring in would be enough.

As the Cabin door closed for the last time the freight train roar of the storm engulfed the little prairie and cabin. Shelley threw two large logs on the fire and listened to the storm batter the cabin outside. As she listened she became more comfortable. Despite the fierce roar of the wind outside, the cabin stayed strong. No creaks or groans from the old building that was lovingly maintained by Joseph. She wrapped herself in Aurora's grandmothers hand sewn quilt blanket and curled up on the leather couch in front of the hot fire. She slept well, waking occasionally to feed the fire and listen to the ever-powerful early winter storm.

In the morning she peeked through a gap in the storm shutters. The wind had slowed down but it was snowing heavily still. Based on the depth around Boris, it was knee-deep already and pilling up.

That day she stoked the fire and heated the cabin. The energy around the cabin and the hot air inside started to give Shelley erotic artistic inspiration. She sat in her singlet and underwear sketching images of the powerful storm, clouds rolling into erotic figures. Then it came to her, she could see if before she sketched the first of the three panels. For the rest of the day, through the night and into the next she created. A three-panel oil color series, each panel propped up beside the others to allow Shelley to work on them together. In blues, purples, greys and white she painted in abstract streaks across the canvas, only stopping to eat or drink occasionally.

The first panel is a woman in a long white dress fighting against the onslaught of a fierce storm as the wind tore at the dress. One leg was exposed from a large rip as she stepped forward. The dress falls from her shoulder as she holds an arm up to shield her face.

In the second panel, a mythical creature is morphing out of the chaos of the winter storm to approach the woman. She is determined to stand up to the creature, but fearful of its power. It is hunched with big round shoulders and arms as it reaches out to wrap the woman up.

The first panel shows the woman succumbing to the intoxication of the mythical winter creature. He has her on her back, knees spread wide as he makes love to the woman, the storm raging over their heads.

As the second full day of storm quietens down, Shelley stands equal part exhausted and aroused in front of the work she has just created. The wind has stopped outside and the cabin is filled with only the noise of the crackly fire that is still burning brightly. Shelley's concentration is broken with a shock by three strong thumps on the door of the cabin. She races to the door to open it with a rush of cold air pushing her back. Standing outside the door in waist-high snow is a tall black figure covered in ice. Slowly the figure raises its hand to its face to pull down a scarf and take off a pair of snow goggles. Shelley looks into the blue and pink face of Joseph.