My Best Spoon

So maybe now The Dish and My Best Spoon
Are playing Hide and Seek just behind The Moon
Waiting there until it's time to show
Spring is like that now
Far beneath the snow
Hiding in The Place Where The Lost Things Go

Waters wrote the lyrics on The Road for the "Brain Damage" / "Eclipse" closing sequence as he felt the whole piece was "unfinished". 

The final words sung on the song and, indeed the album The Dark Side of the Moon, directs the listener,
Waters wrote the lyrics on the road for the "Brain Damage" / "Eclipse" closing sequence as he felt the whole piece was "unfinished".^[4] The final words sung on the song and, indeed the album The Dark Side of the Moon, directs the listener, "and everything under the sun is in tune, but the sun is eclipsed by the moon." Waters explained the meaning of these words as well as the entire song by asserting:

I don't see it as a riddle. The album uses the sun and the moon as symbols; the light and the dark; the good and the bad; the life force as opposed to the death force. I think it's a very simple statement saying that all the good things life can offer are there for us to grasp, but that the influence of some dark force in our natures prevents us from seizing them. The song addresses the listener and says that if you, the listener, are affected by that force, and if that force is a worry to you, well I feel exactly the same too. The line 'I'll see you on the dark side of the moon' is me speaking to the listener, saying, 'I know you have these bad feelings and impulses because I do too, and one of the ways I can make direct contact with you is to share with you the fact that I feel bad sometimes.^[5]

The doorman of Abbey Road Studios, Gerry O'Driscoll, is heard speaking at 1:37, answering the question: "What is 'The Dark Side of The Moon'?" with: "There is no Dark Side in The Moon, really. Matter of fact, it's all Dark. The Only Thing that makes it look light is The Sun."
 

Let's Think About This -

The Sun is Male, The Moon is Female 

Waters wrote the lyrics on the road for the "Brain Damage" / "Eclipse" closing sequence as he felt the whole piece was "unfinished".^[4] The final words sung on the song and, indeed the album The Dark Side of the Moon, directs the listener, "and everything under the sun is in tune, but the sun is eclipsed by the moon." Waters explained the meaning of these words as well as the entire song by asserting:

I don't see it as a riddle. The album uses the sun and the moon as symbols; the light and the dark; the good and the bad; the life force as opposed to the death force. I think it's a very simple statement saying that all the good things life can offer are there for us to grasp, but that the influence of some dark force in our natures prevents us from seizing them. The song addresses the listener and says that if you, the listener, are affected by that force, and if that force is a worry to you, well I feel exactly the same too. The line 'I'll see you on the dark side of the moon' is me speaking to the listener, saying, 'I know you have these bad feelings and impulses because I do too, and one of the ways I can make direct contact with you is to share with you the fact that I feel bad sometimes.^[5]

The doorman of Abbey Road Studios, Gerry O'Driscoll, is heard speaking at 1:37, answering the question: "What is 'the dark side of the moon'?" with: "There is no dark side in the moon, really. Matter of fact, it's all dark. The only thing that makes it look light is the sun."

 

Waters explained the meaning of these words as well as the entire song by asserting:

I don't see it as a riddle. The album uses the sun and the moon as symbols; the light and the dark; the good and the bad; the life force as opposed to the death force. I think it's a very simple statement saying that all the good things life can offer are there for us to grasp, but that the influence of some dark force in our natures prevents us from seizing them. The song addresses the listener and says that if you, the listener, are affected by that force, and if that force is a worry to you, well I feel exactly the same too. The line 'I'll see you on the dark side of the moon' is me speaking to the listener, saying, 'I know you have these bad feelings and impulses because I do too, and one of the ways I can make direct contact with you is to share with you the fact that I feel bad sometimes.[5]

The doorman of Abbey Road Studios, Gerry O'Driscoll, is heard speaking at 1:37, answering the question: "What is 'the dark side of the moon'?" with: "There is no dark side in the moon, really. Matter of fact, it's all dark. The only thing that makes it look light is the sun."

Long Ago and Far Away

Well, it was Long Ago,

And it was Far Away,

And “it” was so-much Better 

than “it” is, Today....

DAPHNE, WITH HER head tied up in Mary Poppins’ bandanna handkerchief, was in bed with earache. 

“What does it feel like?” Michael wanted to know. 

“Like guns going off inside my head,” said Daphne. 

“Cannons?” 

“No, pop-guns.” 

“Oh,” said Michael. And he almost wished he could have earache, too. It sounded so exciting. 

“Shall I tell you a story out of one of the books?” said Michael, going to the bookshelf. 

“No. I just couldn’t bear it,” said Daphne, holding her ear with her hand. 

“Well, shall I sit at the window and tell you what is happening outside?” 

“Yes, do,” said Daphne. 

So Michael sat all the afternoon on the window seat telling her everything that occurred in the Lane. And sometimes his accounts were very dull and sometimes very exciting. 

“There’s Admiral Boom!” he said once. “He has come out of his gate and is hurrying down the Lane. Here he comes. His nose is redder than ever and he’s wearing a top hat. Now he is passing Next Door—” 

“Is he saying ‘Blast my gizzard!’?” enquired Daphne. 

“I can’t hear. I expect so. There’s Miss Lark’s second housemaid in Miss Lark’s garden. 

And Robertson Ay is in our garden, sweeping up the leaves and looking at her over the fence. He is sitting down now, having a rest.” 

“He has a weak heart,” said Daphne. 

“How do you know?” 

“He told me. He said his doctor said he was to do as little as possible. And I heard Daddy say if Robertson Ay does what his doctor told him to he’ll sack him. Oh, how it bangs and bangs!” said Daphne, clutching her ear again. 

“Hulloh!” said Michael excitedly from the window. 

“What is it?” cried Daphne, sitting up. “Do tell me.” 

“A very extraordinary thing. There’s a cow down in the Lane,” said Michael, jumping up and down on the window seat. 

“A cow? A real cow – right in the middle of a town? How funny! Mary Poppins,” said Daphne, “there’s a cow in the Lane, Michael says.” 

“Yes, and it’s walking very slowly, putting its head over every gate and looking round as though it had lost something.” 

“I wish I could see it,” said Daphne mournfully. 

“Look!” said Michael, pointing downwards as Mary Poppins came to the window. “A cow. Isn’t that funny?” 

Mary Poppins gave a quick, sharp glance down into the Lane. 

She started with surprise. 

“Certainly not,” she said, turning to Daphne and Michael. “It’s not funny at all. I know that cow. She was a great friend of my Mother’s and I’ll thank you to speak politely to her.” 

She smoothed her apron and looked at them both very severely. 

“Have you known her long?” enquired Michael gently, hoping that if he was particularly polite he would hear something more about the cow. 

“Since before she saw the King,” said Mary Poppins. 

“And when was that?” asked Daphne, in a soft encouraging voice. 

Mary Poppins stared into space, her eyes fixed upon something that they could not see. 

Daphne and Michael held their breath, waiting. 

“It was long ago,” said Mary Poppins, in a brooding story-telling voice. 

She paused, as though she were remembering events that happened hundreds of years before that time. 

Then she went on dreamily, still gazing into the middle of the room, but without seeing anything.

Never Felt So Good,

Never Felt So Right —

Dark Babylonian Aspect

Angelus,
The Other Angel :
Hey Dawn — Yeah, it’s Me.

Is Your Sister Home...?

She is...?

The Angelus hangs up the phone, scowling with irritability

It’s The Other One .....

Hail, Lord Someone Else !!!

All Hail The Dark Overlords of The Universe !!!

WESLEY
A lot's happened. Not just Angelus. 

I've been—I've changed. 

I've seen a Darkness in Myself. 

I'm not sure you'd even begin to understand —

WILLOW
I Flayed a Guy Alive 

and 

Tried to Destroy The World.

[ Who Hasn’t? ]

WESLEY
Oh. So... 

(stands, doesn't make eye-contact) 

WILLOW
Darkness. 

Been There.

WESLEY
Yeah. Well, I never flayed... 

(seems sickened)  

I had a woman chained in a closet.

Dude?!? Seriously...?

NOT-Cool...

I Bet You Didn’t Even Think to Put a Bucket in There with Her....

A Cover is Not The Book

A Cover is Not The Book.

The Map is Not The Territory.

Big Data is Not Reality.


ADRIC: 
No! I don't want to play. 

HINDLE: 
Why not? 

ADRIC: 
Because I don't want to. 
It's childish. 


HINDLE: 
Oh, go on. 
It isn't a game, it's real, 
With measuring and everything!

Uncle Goodenberg was a bookworm

And he lived on Charring Cross

The memory of his volumes brings a smile

He would read me lots of stories

When he wasn't on the sauce

Now I'd like to share the wisdom

Of my favourite bibliophile

He said a

Cover is not the book

So open it up and take a look

'Cause under the cover one discovers

That the king maybe a crook

Chapter titles are like signs

And if you read between the lines

You'll find your first impression was mistook

For a cover is nice

But a cover is not the book

"Mary Poppins, could you give us an example?"

"Certainly"

Nelly Rebitta was made of wood

But what could not be seen was though

A trunk up top was barren

While her roots were lush and green

So in Spring when Mr. Hickery saw her blossoms blooming there

He took fruit despite her bark

And now there's seedlings everywhere

Which proves that

A cover is not the book

So open it up and take a look

'Cause under the cover one discovers

That the king maybe a crook

Chapter titles are like signs

And if you read between the lines

You'll find your first impression was mistook

For a cover is nice

But a cover is not the book

"Should we do the one about the wealthy widow?"

"Ooh, by all means"

"Always loved that one"

"Well, go on then"

Lady Highest of Macaw

Brought all her treasures to a reef

Where she only wore a smile

Plus two feathers, and a leaf

So no one tried to rob her

'Cause she barely wore a stitch

For when you're in your birthday suit

There ain't much there to show you're rich

Oh, a cover is not the book

So open it up and take a look

'Cause under the cover one discovers

That the king maybe a crook

Tarulalee, tarurala, tarulalee, tara-ta-ta

You'll find your first impression was mistook (ya-da-da-da)

For a cover is nice

But a cover is not the book

"Oh give us the one about that dirty rascal, why don't ya"

"Isn't that one a bit long?"

"Well the quicker you're into it, the quicker you're out of it"

Once upon a time

In a nursery rhyme

There was a castle with a king

Hiding in a wing

'Cause he never went to school to learn a single thing

He had scepters and swords

And a parliament of lords

But on the inside he was sad

Egad!

Because he never had a wisdom for numbers

A wisdom for words

Though his crown was quite immense

His brain was smaller that a bird's

So the queen of the nation

Made a royal proclamation

"To the Missus and the Messers

The more or lessers

Bring me all the land's professors"

Then she went to the hair dressers

And they came from the east

And they came from the south

From each college they poured knowledge

From their brains into his mouth

But the king couldn't learn

So each professor met their fate

For the queen had their heads removed

And placed upon the gate

And on that date

I state their wives all got a note

Their mate was now the late great

But then suddenly one day

A stranger started in to sing

He said "I'm the dirty rascal

And I'm here to teach the king"

And the queen clutched her jewels

For she hated royal fools

But this fool had some rules

They really ought to teach in schools

Like you'll be a happy king

If you enjoy the things you've got

You should never try to be

The kind of person that you're not

So they sang and they laughed

For the king had found a friend

And they ran onto a rainbow for

The story's perfect end

So the moral is you mustn't let

The outside be the guide

For it's not so cut and dried

Well unless it's Dr. Jekyll

Then you better hide

Petrified

No, the truth can't be denied

As I now have testified

All that really counts and matters

Is the special stuff inside

"He did it!"

Oh, a cover is not the book

So open it up and take a look

Cause under the cover one discovers

That the king maybe a crook

So please listen to what we've said

And open up a book tonight in bed

So one more time before we get the hook (sing it out strong!)

A cover is nice (Please take our advice)

A cover is nice (Or you'll pay the price)

A cover is nice

But a cover is not the book

Medicine

 A spoon was attached to the neck of the bottle, and into this Mary Poppins poured a dark crimson fluid. “Is that your medicine?” enquired Michael, looking very interested. 

“No, yours.” said Mary Poppins, holding out the spoon to him. 

Michael stared. He wrinkled up his nose. He began to protest. “I don’t want it. I don’t need it. I won’t!” 

But Mary Poppins’ eyes were fixed upon him, and Michael suddenly discovered that you could not look at Mary Poppins and disobey her. 

There was something Strange and Extraordinary about Her –something that was frightening and at the same time most exciting.

Childhood's End : Bad Wednesday

“I’m afraid it’s too late for that,” he said sadly. “I grew up long ago.” 

“Then why, then what – oh, I don’t understand. Where am I?” cried Jane, gazing about her in terror.

“Far from home, my child, far from home,” croaked the Great-Grandfather. “You are back in the Past – back where Christina and the boys were young sixty years ago!” 

Through her tears Jane saw his old eyes burning fiercely. “Then – how can I get home?” she whispered.

“You cannot. You will stay here. 

There is no other place for you. 

You are back in the Past, remember! 

The Twins and Michael, even your Father and Mother, are not yet born; Number Seventeen is not even built. 

You cannot go home!” 

“No, no!” cried Jane. “It’s not true! It can’t be.”

Her heart was thumping inside her. Never to see Michael again, nor the Twins, nor her Father and Mother and Mary Poppins! 

And suddenly she began to shout, lifting her voice so that it echoed wildly through the stone corridors.

“Mary Poppins! I’m sorry I was cross! Oh, Mary Poppins, help me, help me!” 

“Quick! Hold her close! Surround her!” She heard the Great-Grandfather’s sharp command. She felt the four children pressing close about her. She shut her eyes tight.

“Mary Poppins!” she cried again, “Mary Poppins!” A hand caught hers and pulled her away from the circling arms of Christina, Valentine, William and Everard.

“Heh! Heh! Heh!” The Great-Grandfather’s cackling laugh echoed through the room. The grasp on her hand tightened and she felt herself being drawn away. She dared not look for fear of those frightening eyes, but she pulled fiercely against the tugging hand. 

“Heh! Heh! Heh!” The laugh sounded again and the hand drew her on, down stone stairs and echoing corridors. She had no hope now. Behind her the voices of Christina and the Triplets faded away. 

No help would come from them. She stumbled desperately after the flying footsteps and felt, though her eyes were closed, dark shadows above her head and damp earth under her foot. What was happening to her? Where, oh, where was she going? If only she hadn’t been so cross – if only! The strong hand pulled her onwards and presently she felt the warmth of sunlight on her cheeks and sharp grass scratched her legs as she was dragged along. Then, suddenly, a pair of arms, like bands of iron, closed about her, lifted her up and swung her through the air.

“Oh, help, help!” she cried, frantically twisting and turning against those arms. She would not give in without a struggle, she would kick and kick and kick and. . .

 “I’ll thank you to remember,” said a familiar voice in her ear, “that this is my best skirt and it has to last me the Summer!”

Jane opened her eyes. A pair of fierce blue eyes looked steadily into hers.

The arms that folded her so closely were Mary Poppins’ arms and the legs she was kicking so furiously were the legs of Mary Poppins.

“Oh!” she faltered. “It was you! I thought you hadn’t heard me, Mary Poppins! I thought I should be kept there for ever. I thought—” 

“Some people,” remarked Mary Poppins, putting her gently down, “think a great deal too much. Of that I’m sure. Wipe your face, please!” 

She thrust her blue handkerchief into Jane’s and began to get the Nursery ready for the evening. Jane watched her, drying her tear-stained face on the large blue handkerchief.

She glanced round the well-known room. There were the ragged carpet and the toy cupboard and Mary Poppins’ armchair. At the sight of them she felt safe and warm and comforted. She listened to the familiar sounds as Mary Poppins went about her work, and her terror died away. A tide of happiness swept over her.

“It couldn’t have been I who was cross,” she said to herself. “It must have been somebody else.” And she sat there wondering who the Somebody was. . . “But it can’t really have happened!” scoffed Michael a little later when he heard of Jane’s adventure.  

“You’re much too big for the Bowl.” She thought for a moment. Somehow, as she told the story, it did seem rather impossible. “I suppose it can’t,” she admitted. “But it seemed quite real at the time.” 

“I expect you just thought it. You’re always thinking things.” He felt rather superior because he never thought at all.  

“You two and your thoughts!” said Mary Poppins crossly, pushing them aside as she dumped the Twins into their cots.

“And now,” she snapped, when John and Barbara were safely tucked in, “perhaps I shall have a moment to myself.”

She took the pins out of her hat and thrust it back into its brown-paper bag. She unclipped the locket and put it carefully away in a drawer. Then she slipped off her coat, shook it out, and hung it on the peg behind the door. 

“Why, where’s your new scarf?” said Jane.

“Have you lost it?” 

“She couldn’t have!” said Michael. “She had it on when she came home. I saw it.” Mary Poppins turned on them. “Be good enough to mind your own affairs,” she said snappily, “and let me mind mine!” 

“I only wanted to help—” Jane began.

“I can help myself, thank you!” said Mary Poppins, sniffing. Jane turned to exchange looks with Michael. But this time it was he who took notice. He was staring at the mantelpiece as if he could not believe his eyes. “What is it, Michael?” 

“You didn’t just think it, after all!” he whispered, pointing. Jane looked up at the mantelpiece.

There lay the Royal Doulton Bowl with the crack running right across it. There were the meadow grasses and the wood of alders. And there were the three little boys playing horses, two in front and one running behind with the whip.

But – around the leg of the driver was knotted a small, white handkerchief and, sprawling across the grass, as though someone had dropped it as they ran, was a red-and-white checked scarf.

At one end of it was stitched a large white label bearing the initials: M.P. “So that’s where she lost it!” said Michael, nodding his head wisely.

“Shall we tell her we’ve found it?” Jane glanced round. Mary Poppins was buttoning on her apron and looking as if the whole world had insulted her.

“Better not,” she said softly. “I expect she knows.” 

For a moment Jane stood there, gazing at the cracked Bowl, the knotted handkerchief and the scarf. 

Then with a wild rush she ran across the room and flung herself upon the starched white figure.  

“Oh,” she cried. “Oh, Mary Poppins! I’ll never be naughty again!” 

A faint, disbelieving smile twinkled at the corners of Mary Poppins’ mouth as she smoothed out the creases from her apron.

“Humph!” was all she said.

To Return from Daily Strife, to Hearth and Wife

George Banks and all he stands for will be saved. 

Maybe not in Life, but in imagination. 

Because that's what We Storytellers do - 

We restore Order with Imagination. 

We instill Hope again and again and again.

Mr.Banks:

I feel a surge of deep satisfaction

Much as a king astride his noble steed

When I return from daily strife to heart and wife

How pleasant is the life I lead!

Mrs. Banks:

[Spoken]

Dear, it's about the children...

Mr. Banks:

Yes, yes, yes!

[Sung]

I run my home precisely on schedule

At 6:01, I march through my door

My slippers, sherry, and pipe are due at 6:02

Consistent is the life I lead!

It's grand to be an Englishman in 1910

King Edward's on the throne;

It's the age of men

I'm the lord of my castle

The sov'reign, the liege!

I treat my subjects: servants, children, wife

With a firm but gentle hand

Noblesse oblige!

It's 6:03 and the heirs to my dominion

Are scrubbed and tubbed and adequately fed

And so I'll pat them on the head

And send them off to bed

Ah! Lordly is the life I lead!

A British nanny must be a gen'ral!

The future empire lies within her hands

And so the person that we need to mold the breed

Is a nanny who can give commands!

A British bank is run with precision

A British home requires nothing less!

Tradition, discipline, and rules must be the tools

Without them - disorder!

Catastrophe! Anarchy! -

In short, we have a ghastly mess!