Showing posts with label Trust. Show all posts
Showing posts with label Trust. Show all posts

Wednesday 23 October 2019

The Mandarin Trickster







[Toymaker's office]
 
In a striking office a man is dressed 
in the bejewelled robes of a Chinese Mandarin. 
His surroundings, a strange mixture of ultramodern and ornate, 
include a large desk incorporating a control panel 
and an elegant triangular gaming table. 

 
TOYMAKER
You'll serve my purpose admirably. 
You're very good at games. 
Clowns always are. 


You can show Steven and Dodo some of your tricks into the bargain.


The man has selected a pair of toy clowns, 
one happy and one sad, 
from the nursery of a large Victorian dolls house. 

The Happy One is a girl dressed in a harlequin costume. 
The Sad One is a boy in a white baggy suit with ruffles and a cone-shaped clown hat. 

Now, before his eyes, the dolls begin to grow.

[Toyroom]

DODO: 
If you want to go, then you go,
 but I'm sure that The Doctor would. Doctor!

DOCTOR: 
Hmm? What is it?

DODO: 
There you are!

STEVEN: 
We can see you! 
Everything's all right.

DOCTOR: 
Oh, you can see me?

STEVEN + DODO: 
Yes!
DOCTOR: 
Well, splendid. Splendid.

DODO: 
Oh, let's go now. 
It must have just been 
the Refusian influence after all.

STEVEN: 
What's this extraordinary place?

DOCTOR: 
Well, I'm not quite sure, dear boy, 
but it's, it's somewhat familiar.

DODO: 
It looks dead boring to me. 
Come on.

DOCTOR: 
No, wait, child, wait.

DODO: 
Why?

DOCTOR: 
Well, I don't think it was the Refusian's influence that made me become intangible. 

No, I think it was something here, 
and I don't like the feel of the place anymore than you do 
but we have to face up to it. 
You know, I think I was meant to come here.

STEVEN: 
Hey! Look! That's me!

DODO: 
What is?

STEVEN: 
Here, on this screen!

DODO: 
What screen?

STEVEN: 
Here! That's me on the planet Kembel.

(To Dodo the screen is blank.)

DODO: 
There's nothing there!

DOCTOR: 
But I believe I now know 
where we are.

STEVEN: 
It's changed again. 
There I am in Paris.

DOCTOR: 
Now turn around this instant! 
Turn away from it, dear boy! 

We're now in The World of 
The Celestial Toymaker, 
and that screen is hypnotic. 
He's trying to dominate 
your mind.

STEVEN: 
But, Doctor —

DOCTOR: 
There is nothing there. 
Do you understand me? 
There is nothing there at all. 
You must believe me.

STEVEN: 
What was it? 
What happened?

DODO: 
What's the matter, Doctor? 
I couldn't see anything on the screen.

DOCTOR: 
Come here, child. 
Now whatever you do, 
you must not allow yourself to be trapped into looking at it.

DODO: 
Who's the Celestial Toymaker?

DOCTOR: 
He's a Power for Evil. 
He manipulates people 
and makes them into his playthings. 

Whatever you do, neither of you must look at that screen. 
It's A Trap.
(In place of the Tardis now stands the Mandarin.)

TOYMAKER: 
What a spoil-sport you are, Doctor. 
They like my memory window.

DOCTOR: 
You! I might have guessed.

TOYMAKER: 
Of course. I've been waiting 
for you a long time.

DODO: 
Where's the Tardis?

TOYMAKER: 
Don't worry, my dear. 
Just watch over there.

(As Dodo looks at the screen, an image appears of a young girl wearing a school beret.)

DODO: 
It's me the day my mother died!
DOCTOR: 
Turn away from it this instant!

STEVEN: 
Look away.
(Steven pulls Dodo to himself.)

TOYMAKER: 
What a shame. I thought my little invention would amuse you.

DOCTOR: 
You and your inventions, ha! 
Now, both of you, be very careful. 
This place is a hidden menace. Nothing is just for fun.


STEVEN: 
What's the idea of it?

DOCTOR: 
He's trying to get us into His Power. 
That's why we've got to fight him.

DODO: 
Well can't we just go? 
I hate this place.

DOCTOR: 
My dear, but how? 
That is the question.

DODO: 
In the Tardis, of course, as always.

TOYMAKER: 
There are many of them. 
Take your choice.

(On screen, rows of Tardises are filing past as if on a conveyor belt.)

STEVEN: 
There are hundreds of them!

TOYMAKER: 
Yes, hundreds. Come, Doctor.

DOCTOR: 
No!

(Steven and Dodo turn round. The room is completely empty.)

STEVEN: 
Doctor!
DODO: 
Have you gone invisible again?
STEVEN: No, he's gone. That man has taken him away.
DODO: I don't like it. We should never have stayed.
STEVEN: It's too late now.
DODO: Who was that man?
STEVEN: I don't know. But we've got to find the Doctor.
(The only door in the room suddenly opens and two clowns enter the room on tiptoe.)
STEVEN: What on Earth?
DODO: Shhh! Shhh! Steven.
STEVEN: But why have I got to be quiet?
(Joey, the sad clown offers Steven his hand which comes away in Steven's own, as Clara, the happy clown pops a balloon with a hat pin. The newcomers mime convulsive laughter. Dodo giggles.)
STEVEN: Very funny. Don't see what you've got to laugh about.
DODO: If you could only see your face with that hand.
(Joey presents Dodo with a bouquet.)
DODO: For me? (honk) Oh thanks. No one's ever given me flowers before.
(As she leans in to smell them, a jet of water squirts in her face. It's Steven's turn to be amused.)
STEVEN: If you could just see your face.
DODO: I'm not sure that I like these clowns.
STEVEN: Look, can either of you talk? (honk) Well, how about you?
CLARA: (very high pitched) Yes, I can talk. How are you?
(Carmen Silvera long before 'Allo, Allo.)
STEVEN: I'm fine. But what do you want with us?
TOYMAKER: They're here to entertain you. Play a game with you.
STEVEN: Well, thank you very much. We've been entertained. We don't want to play your games. Now where have you taken the Doctor?
TOYMAKER: Taken the Doctor? Nowhere, my dear chap. The Doctor and I are going to play a little game together. You can watch the results on that board.
(He points to the screen.)
TOYMAKER: But you must win all your games before he does.
STEVEN: Look, we're not interested in your games. We want to go back to the Tardis.
TOYMAKER: That's impossible.
STEVEN: Impossible?
TOYMAKER: Well, not quite impossible, but you'll have to win a few games first. After each game, if you win, you will find a Tardis, which may or may not be the real one.
STEVEN: What do you mean, the real one?
TOYMAKER: As you have seen, I have many copies.
DODO: So we have to win a game before we can get to the Tardis.
TOYMAKER: Right. Several games, in fact.
STEVEN: And if we lose?
TOYMAKER: Then you both stay here as my guests.
DODO: We'd better play his silly games, Steven.
STEVEN: I don't see why we should humour him. He's obviously around the bend.
DODO: That's just it. If we don't do as he says, we may never get out of here.
TOYMAKER: Well?
STEVEN: All right, we'll play your little games. But if we win, we get the Tardis back, okay?
TOYMAKER: Agreed.
STEVEN: And if we lose?
TOYMAKER: You'll never see the Tardis again.
(The Toymaker vanishes.)
STEVEN: Wait!
DODO: You never asked him about the Doctor.
STEVEN: Oh, he's probably got his game to play. I'm glad we're not playing that one.
DODO: What are we playing?
CLARA: Blind Man's Buff!

[Toymaker's office]

(The Toymaker and the Doctor face each other across the triangular table.)
DOCTOR: You will kindly cease this practical joking, and let us go at once.
TOYMAKER: Patience, Doctor, patience. You've only just got here. Relax. It's so nice to see you again.
DOCTOR: And now you have, so let us go.
TOYMAKER: You're so innocent, Doctor. The last time you were here, I hoped you'd stay long enough for a game, but you had hardly time to turn around.
DOCTOR: And very wise I was, too. You and your games are quite notorious. You draw people here like a spider does to flies.
TOYMAKER: How absurd. It amuses me to give amusement.
DOCTOR: And should they lose the game they play, you condemn them to become your toy forever.
TOYMAKER: That is one of my rules, certainly. But if they win, they're perfectly free to go.
DOCTOR: And if I refuse?
TOYMAKER: Then you lose by default. Is that what you choose?
DOCTOR: No, I do not. I should never have left the Tardis.
TOYMAKER: You're so insatiably curious. That's why I ensured that the scanner would be blank. I knew that would bring you out.
DOCTOR: Another one of your conjuring tricks. What game is it you want me to play?
(The Toymaker indicates the table.)
TOYMAKER: This.
(Each of the three corners is inlaid with a letter, A B and C.)
DOCTOR: The trilogic game?
TOYMAKER: The trilogic game. A game for the mind, Doctor, the developed mind. Difficult for the practiced mind. Dangerous for the mind that has become old, lazy or weak.
DOCTOR: You infer that my mind is getting weak and old?
TOYMAKER: Well now, we shall see. Perhaps it is merely lazy.
DOCTOR: How dare you.
TOYMAKER: So you still think that you can pit your mind against mine?
DOCTOR: Of course I can.
TOYMAKER: Good. I hope that the time you have spent dabbling in your researches round the universe hasn't dulled you. I need you.
DOCTOR: You need me?
TOYMAKER: Yes. I'm bored. I love to play games, but there's no one to play against. The beings who call here have no minds and so they become my toys. But you will become my perpetual opponent. We shall play endless games together, your brain against mine.
DOCTOR: As you said, if I win the game, I can go.
TOYMAKER: So you can, Doctor, so you can. But I think you will lose. Can you remember how to play?
(Ten triangular playing counters stacked in a pyramid now appear on corner A, with number 1, the smallest, at the top.)
DOCTOR: I am only allowed to move one piece at a time.
TOYMAKER: That is right. And you must rearrange them in the same order that they are now on point C.
DOCTOR: And I am not permitted to put a larger piece on a small piece.
TOYMAKER: Correct. And you have 1,023 moves to do it in. That is the exact amount. If you make one mistake, you lose. And to help you count, there.
(He indicates a tally recorder.)
TOYMAKER: When the two rows of numbers match, the game is over.
(The top row reads 1023, the bottom 0.)
DOCTOR: I see. Can I begin?
TOYMAKER: Don't be so impatient, Doctor.
(He points to a monitor on the wall.)
TOYMAKER> There. We mustn't forget them.
DOCTOR: You are not asking them to play this game.
TOYMAKER: Good heavens, no. They are on the competitive quest.
DOCTOR: Competitive? And who are the others?
TOYMAKER: Two clown friends of mine. They are the home team. They will play against your friends and win the quest.
DOCTOR: Quest? What quest?
TOYMAKER: The hunt for the Tardis. Win the games, and you get it back.

[Toyroom]

(Thanks to the efforts of the two clowns, the floor of the toyroom now resembles a huge board game with a series of obstacles laid out between Start and Home.)
DODO: It's rather like a Snakes and Ladders set I used to have.
STEVEN: Looks crazy to me.
DODO: Oh, go on, have a go. It looks fun.
STEVEN: What, me on that? Not on your life.
DODO: But this is the game we have to play, right?
CLARA: This is your game.
STEVEN: Right, then you play it.
CLARA: Oh no! You must play it. It's all quite simple. You start here, blindfold.
STEVEN: You must be joking. Kids game.
DODO: Steven! Go on.
CLARA: You have to cross these obstacles without falling down. And if you get home without falling down, you win the game.
STEVEN: And what's old What's-His-Name there going to be doing all this time?
CLARA: His name is Joey. I'm Clara. He will play it too, of course.
STEVEN: And if he loses? No answer that time. And what happens if we both manage it?
CLARA: Then we play it again until someone loses.
STEVEN: Oh, it's a great future the Toymaker's got mapped out for us. All right, chum, you want to show me how it's done? (honk, bell, honk, bell) That means yes, I suppose. (honk)
(Clara ties a blindfold over Joey's eyes and guides him onto the start position. The first obstacle is a set of pinnacles over which Joey must swing on a rope.)
CLARA: You must come with me.
(She leads Steven and Dodo into a glass-fronted booth. Inside is a control panel.)
CLARA: This is where we control them. One buzz for right turn, two for left, three to stop, four to start.
(Buzz buzz buzz buzz. Joey feels for the rope, unties it and swings across the pinnacles, landing sure-footedly on the first of a series of stepping stones, the second obstacle. He steps confidently from one stone to the next.)

[Toymaker's office]

(Watching the monitor alone, the Doctor finds a communication switch.)
DOCTOR: Dodo? Steven? This is the Doctor. The game you're going to play is not so innocent as it looks. Be on your guard.

[Toyroom]

DOCTOR [OC]: If you lose this game, we shall be here forever. So watch out for

[Toymaker's office]

TOYMAKER: That was unwise of you, Doctor.
(The Toymaker's flicked the switch.)
DOCTOR: I must warn them.
TOYMAKER: Attend to your own game. Go from move 152.
(Seemingly of their own volition, the counters and tally move as the Toymaker has commanded.)
TOYMAKER: Keep playing, Doctor. And to stop you interfering, I shall have to dematerialise you again. There.
(Once again, the Doctor is intangible.)
DOCTOR [OC]: You are overreaching yourself, Toymaker. How can I play this game?
TOYMAKER: Let's see. Suppose we leave you one hand, there. I suggest you resume the game.
(The Doctor's disembodied hand hovers over the table. With great dignity he takes counter 1 from B and places it on C, then moves counter 2 from B to A.)
TOYMAKER: I thought you'd see it my way, Doctor.

[Toyroom]

(Joey has completed the third and fourth obstacles, and reaches Home.)
CLARA: We won! We won!
STEVEN: Just a minute. I haven't had a go yet.
DODO: But the Doctor warned us.
STEVEN: It's all right, I can manage it. Rope, five stones, steps, plank, tube. Now I can do it if you can guide me. After all, he can do it. And you remember the directions?
DODO: Right, one buzz. Left, two buzzes. Four to start and three to stop.
(Leaving Dodo in the booth, Steven positions himself at the start of the course. Clara ties on his blindfold.)
CLARA: Can you see?
STEVEN: Not a thing. Right, I'm ready.
(Clara joins Dodo whilst Joey hovers nonchalantly around the course.)
CLARA: Ready now.
(Buzz buzz buzz buzz. As Steven prepares to rope swing across to the stepping stones, Joey nudges the first stone out of position.)
DODO: Look what he's doing! Cheat! You cheat! Steven, look out!
CLARA: He can't hear you! The door's self-locking!
(Buzz buzz buzz.)
STEVEN: Dodo, be careful. You nearly made me fall that time.
(Steven swings across but his feet find nothing on the other side.)
STEVEN: What have you done now, you clown, you?
(Honk, buzz)
STEVEN: One right. One right?
(He swings again, this time landing safely.)
STEVEN: Phew, that was close. (honk) Yes, you'll honk when I get this blindfold off. Now he's moved another. He moved the first to the right, he's moved the second to the left.
(Buzz buzz buzz.)
STEVEN: No, what now? (buzz) To the right? (honk) You wait!
(With Joey continuing to disrupt the course, Steven is forced to listen carefully to Dodo's signals as he gingerly negotiates the other stones. Buzz buzz. Buzz. Buzz. Eventually Steven steps off the final stone onto a stepladder and sits down to mop his brow.)
DODO: I don't see how he has a chance of winning if you cheat all the time.
CLARA: Cheat? Oh no. It's just a few variations. It makes it more fun.
(For the next stage, Steven must cross a plank mounted between two sets of steps. As he's edging along, Joey tries to distract him.)
STEVEN: What was that? (honk) You again. I warn you! (honk) Games with clowns.
(He reaches the end and begins to climb down. The final obstacle is a large flexible tube which he must pass through in order to reach home. Buzz buzz buzz. Buzz buzz.) DODO: He's far too big to squeeze through that tube.
CLARA: Joey did.
DODO: But suppose he gets stuck half way, what then?
(Once Steven has entered the tube, Joey drags the other end round to form a U shape.)
DODO: Look what he's done! It's not fair!
CLARA: He goes back to the start!
DODO: And you think that's fair? Let me out of here! Open the door!
CLARA: I can't!
DODO: Oh, you're just like a doll! A rag doll! I don't think this funny at all.
(Emerging from the end of the tube, Steven feels for the table marking Home. Instead, he finds the steps again.)
STEVEN: Oh, no!
(He tears off the blindfold.)
STEVEN: Look, I warned you!
CLARA: We won! We won!
DODO: You cheated. Steven completed the course.
CLARA: We won! Now you'll never find the Tardis!
STEVEN: Look, it's a draw. Now let's do it again, this time with him in the booth!
CLARA: The winner!
DODO: Steven, look at this! You can see right through it. It's not a real blindfold at all!
(The two clowns look crestfallen.)
STEVEN: No wonder you were able to run round the course so easily. And now we'll try it again, only this time with a real blindfold. Not so fast! Here, put that on him. You'd better go in the booth to guide him.
(Clara obeys whilst Dodo ties the genuine blindfold round Joey's head. The room has grown darker and the clowns are suddenly sombre.)
STEVEN: Right. Now we'll play The Toymaker's little game fairly. Go on, Dodo, start him off.
(Buzz buzz buzz buzz. Joey begins the course once again, guided by Clara's signals.)
DODO: Steven, I'm frightened. Have you noticed he's not funny anymore?
(Buzz buzz. Buzz. Buzz. The clown teeters precariously on the plank.)
DODO: Steven, you'd better stop him. He'll fall.
STEVEN: We can't stop him. It's him or us. Go on. You can't stop now!
(As Joey continues, his movements grow still and slow, until finally he topples over. In the booth, Clara is slumped lifeless over the controls. Suddenly all the lights go off, there's a loud thunderclap, and there illuminated at the far end of the room is the Tardis.)
STEVEN: Come on.
DODO: It can't be empty!
STEVEN: It is.
(There's only a blank cupboard behind the doors.)
STEVEN: Look.
DODO: What's that?
(It's a piece of paper. Dodo reads.)
DODO: Four legs, no feet, of arms no lack, it carries no burden on its back. Six deadly sisters, seven for choice, call the servants without voice. What does it mean?
STEVEN: A riddle. Look, here's a way out.
DODO: Perhaps this is to tell us where the Tardis is.
STEVEN: Or perhaps it's just another game. Anyway, we've got to find out.
(An exit has opened up at the back of the cupboard. Before following Steven through, Dodo glances back at the clowns. Twisted wooden dolls return to their proper size. With a shudder, she runs from the room.)

Episode Two - The Hall of Dolls

[Cupboard]

(Steven and Dodo face yet another panelled door, this one heavily bolted and with a sign saying 'Pull to open.' One panel shows a numeric display.)
DODO: This is the next game?
STEVEN: No. We'll find the next game behind this door.
DODO: How can you be sure?
STEVEN: Look.
DODO: The Doctor's move recorder for his game.
STEVEN: Yes, I know. This door's here to delay us. I think we're meant to try to get it open. The Toymaker's hoping that we'll waste time.
(They undo all of the locks.)
STEVEN: That should do it. It won't open.
DODO: But it must. What's wrong with it? I know, let's pull instead.
(They do so, and the door flies open, offering them a view of the first Chair Room.)

[Toymaker's study]

(The Doctor's hand makes his 417th move.)
DOCTOR: I haven't made a mistake yet.
TOYMAKER: Let's hope not, Doctor. I would hate you to end up in my dolls' house. I reserve that fate for your two friends.
DOCTOR: They'll win, too.
TOYMAKER: No, they will lose one game, and then, like the clowns, they'll become my toys, and we shall be able to amuse ourselves through all eternity.
DOCTOR: What do you mean?
TOYMAKER: You remember the agreement? They must find your Tardis before you finish your game. If they don't, then you will have to stay here and you'll be in my power forever. Look, they've already reached their next test.
DOCTOR: That game? I might have known.
(The hand presses a communicator.)
DOCTOR: Steven! Dodo! Take care. It's chair number
TOYMAKER: You fool! Now I have been forced to make you dumb as well as intangible. You cannot speak until you have reached the second to last move of the trilogic game. Now then, let them play their games whilst you play yours. Go from move 444. And no more clever tricks, if you please.
(As the counters move themselves into new positions, the Toymaker spreads a pack of playing cards on his desk.)
TOYMAKER: Your friends managed to outwit my clowns. I shall have to find more worthy opponents for them. There. I think perhaps the Heart family. They have great experience in a great variety of games.

[First Chair room]

STEVEN: The Doctor was trying to warn us.
TOYMAKER: I'm seriously annoyed with your friend. Once again, he tried to talk to you, so I've had to deprive him of his voice. Let it be a warning to you. Play the games according to the rules I set, or give up now.
STEVEN: The rules you set? Your own players break them. They cheat!
DODO: 

How can we believe anything you say? Everything here is so strange.
STEVEN: We can't even be certain that that was the Doctor's voice we heard at all. It could have been you leading us toward another trap.
TOYMAKER: I'm glad to see you're at last treating me with respect.
DODO: Only as long as you have the Doctor. After that, we'll see
STEVEN: Forget it, Dodo, he's gone.
(The room contains three elaborate numbered thrones.)
STEVEN: What odd looking chairs. Perhaps these are what the Doctor was trying to warn us about.
QUEEN: Is this the room? Is this the room, I said.
(Carmen Silvera in another role.)
KING: Oh, er I think so, my dear.
(Joey the clown reborn)
QUEEN: And I suppose these are the people we have to play against.
KING: Hmm? Oh! Oh! Peasants, my dear.
QUEEN: Peasants!
STEVEN: Just a minute. Who do you think you're calling a peasant?
DODO: Steven, don't you see who they are?
STEVEN: Well, yes, they do look familiar.
DODO: They're playing cards. We shall play our next game with a couple of playing cards.
STEVEN: The Toymaker's warped sense of humour, I suppose.
QUEEN: None of these look in the least like your throne.
KING: Hmmm? No, no, no, they don't, do we my dear. Although the Toymaker did say we'd find them in here, didn't he?
STEVEN: What was that riddle again?
DODO: Er, four legs, no feet, of arms no lack, it carries no burden on its back.
STEVEN: That must be these chairs.
DODO: But what about the rest of it? Six deadly sisters, seven for choice, call the servants without voice.
STEVEN: Hmmm. Well that can't be the chairs. There are only three of them.
QUEEN: You're not paying the least attention again. I warned you, if we don't find that throne, he'll keep us here. We shall remain playing cards for the rest of eternity.
KING: Ah! Very good point, my dear. Yes, yes, we must find the throne.
DODO: What do you make of them? They seem almost like real people.
STEVEN: Oh, ignore them. They're sent here to distract us. Let's take a look through here.
QUEEN: Where's that Knave? Cyril! Cyril! Tormenting the Joker again I'll be bound.
(The Knave of Hearts, Cyril, enters with the Joker.
JOKER: Did you have to give him that sword?
QUEEN: Quiet, Fool. Cyril, what are you doing?
CYRIL: Nothing. Just playing with the Fool. I'm hungry.
(This ought to be Gerald Campion aka Billy Bunter, but it's not. Looks and sounds very similar though. Younger readers, think Christopher Biggins. If you must.)
KING: Ho, ho! The boy's always hungry.
JOKER: He's a pig.
QUEEN: What did you say?
JOKER: I said, give him a fig. I thought there was a throne to find.
QUEEN: So there is. Where have those peasants gone?
KING: Hmm? Oh, through that door, my dear.
QUEEN: Why didn't you tell me?
KING: Well, you never asked, me dear.
QUEEN: We must follow them at once.
KING: Oh.
QUEEN: Fool, you stay here and look after these chairs.
KING: Oh, but, now that the Fool is here, don't you think we could have a joke or two?
QUEEN: No! Come on.
KING: Oh, well, then, a riddle then? Or a merry quip?
QUEEN: Are you coming?
KING: Oh, yes, my dear.

[Second Chair room]

(Steven and Dodo have slipped away down a side passage. They find themselves in a second chair room containing four more chairs numbered from four to seven. Set into the walls are four familiar looking cupboards.)
STEVEN: Dodo! Four in here, three in there. It must be the chairs. What is it? Six deadly sisters, seven for choice. I suppose that means six of them are dangerous.
DODO: And only one is the right one.
STEVEN: We'll have to find out which one by elimination. But how? And how dangerous are they?
DODO: No, Steven, don't.
STEVEN: Why? What's wrong?
DODO: Don't risk it. None of the Toymakers' toys are just jokes. Six of these chairs will destroy us.
STEVEN: It's a charming thought, but you're probably right. But Dodo, have you noticed all these cupboards? They're all exactly the same shape as the Tardis.
DODO: Yes, but they could be as dangerous as the chairs.
STEVEN: No, I don't think so. There are only four, and there weren't any in the other room.
(He opens the first cupboard. Dodo screams.)
STEVEN: It's all right, they're only dolls.
DODO: I've got it. We'll use the dolls to sit in the chairs. If we've got enough that is. That's four here, and these three make up the seven.
STEVEN: Don't touch them!
DODO: Why? What's wrong?
STEVEN: Well, they may be dangerous, too.
DODO: But the riddle said six deadly sisters, and some of these are men dolls.
STEVEN: What was the last line again?
DODO: Erm, call the servants without voice. But you can't call someone without speaking.
STEVEN: But they haven't got voices. We have. Dolls, come out! Look, they must be the servants. Maybe it's some poetic term, the call bit.
(When none of the mannequins stir, Steven pulls four of them out onto the floor.)
STEVEN: Nothing's happened yet. Well, if we can get them all out before the king and queen get here, we can test the chairs.
DODO: Wait. With seven dolls in three cupboards, what's the other one for?
STEVEN: Perhaps that might be the real Tardis.
(Whilst they're examining the cupboard the other door slides shut, leaving three dolls still inside.)
DODO: It won't open.
STEVEN: Of course, the Doctor's got the key. Come on, look!
(He points to a game tally.)
STEVEN: The Doctor's more than half way through his game already. We've got to find out what we've got to do here first, quick, before the others arrive.
QUEEN: Ah, the peasants again. Caught you in the act. What are you up to?
KING: Oh, they seem to be playing with dolls, my dear.
QUEEN: I can see that. The point is, what are they doing with them?
DODO: They seem very real. We're going to use the dolls to test the chairs.
QUEEN: To test them?
DODO: Yes. Six of them are dangerous and only one is safe. You know, I feel very foolish talking to a playing card.
QUEEN: A playing card?
DODO: Well, aren't you?
STEVEN: Dodo, it's useless talking to them. They're just products of the Toymaker's imagination.
QUEEN: We're as real as you are. Henry.
KING: Oh, er, yes, my dear?
QUEEN: Come here.
KING: Yes, my dear.
QUEEN: Let this wretched child feel your arm.
KING: Feel my arm?
QUEEN: There, child. Isn't that an arm? Not much of one, I grant you, but nevertheless, a real arm.
DODO: It is, Steven, these are real people. Feel his arm.
STEVEN: No, I'll take your word for it. Look, if you're real people, what are you doing here? And why are you wearing those ridiculous clothes?
KING: Ah yes, well, it would take a little too long to explain, my boy. The fact is that we are victims of the Toymaker, the same as you are. For instance, if I were to sit in this chair.
QUEEN: Henry, no! We don't know.
KING: Oh! Oh, no, no, no, we don't, do we?
QUEEN: We must use the dolls. We'll each choose a doll in turn, and then we'll take it in turn to test the chairs, that way we'll find the answer even quicker.
DODO: We found the dolls. They're ours. And we're supposed to be playing against you.
QUEEN: But that doesn't seem right. There are four dolls and four of us. We must be meant to have one each. That's only fair.
KING: And then we can test the dolls sitting in the chair before doing so ourselves?
DODO: What do you mean, one each? What about
STEVEN: It's all right, Dodo.
DODO: Yes, but what about
STEVEN: It'll be all right. Now never mind and keep quiet. All right, go ahead. Choose your dolls.
DODO: But I don't understand. What about the others?

KING: 
Oh, no no no, don't fuss yourself, m'dear. 
The point of the game is to see 
who picks the chair which isn't dangerous, 
and whoever does that is the winner. 
If it's you, you'll get your Tardis back, and if it is us, 
we get our liberty.

STEVEN: 
Now, he's right Dodo. Now go on, choose your doll, and keep quiet. We'll try our luck in the other room.
DODO: Oh, very well.
KING: Oh, are you going, m'dear?
STEVEN: We'll see you later.
QUEEN: I thought we were all supposed to play this game together?
STEVEN: Well as there are seven chairs, I thought that Dodo and I might try our luck in the other room. That way we'll all have an equal chance.
KING: Ah, yes, yes, yes, certainly my boy, yes, anything you like. Yes, well, good luck.
STEVEN: Come on, Dodo.
DODO: All right, I'm just coming. They're so big.
(Armed with a doll each, Steven and Dodo take their leave.)
KING: Charming couple, aren't they?
QUEEN: It isn't very charming to be told you're not real. We were not amused. Well, which chair do you suggest?
KING: Yes, well, none of them look like the throne, do they m'dear?
QUEEN: Well, then you must pick one at random.
KING: Ah, yes of course, random, yes, yes. Ah, now.
(The King closes his eyes and is about to sit in chair seven.)
KING; Eenie meenie minie moe, catch a nigger by the toe. Ah!
QUEEN: No, Henry! Put the doll in it.
KING: Oh, the doll, yes, quite right, yes, my dear, of course, the doll. Ah, here we are then. Now then, we'll take the doll and then. Oof. I say, it's rather heavy, my dear. Nearly as heavy as I am, I've no doubt that this will be perfectly good test for the
(A metal clamp secures the doll and it begins to vibrate furiously.)
QUEEN: Henry!

[First Chair room]

(The Joker and Cyril are asleep in the first room.)
STEVEN: Oh, no. Not more playing cards.
DODO: They look rather sweet, don't they? A Jack and a Joker.
STEVEN: Leave them alone and concentrate. You nearly gave the game away in the other room. They think that there are only four dolls. Now if everyone chooses the wrong chair with those dolls, we're going to need the extra ones to find the right chair.
DODO: Is that fair? They seem quite nice and friendly.
STEVEN: Can't you understand? We've got to win every game, otherwise we'll never see the Tardis again. This isn't a children's party.
DODO: Well, I'm sure if you explained that then the King and Queen would help us.
STEVEN: Oh, Dodo, they belong to the Toymaker, remember that. He wants to keep us here. At any rate, the Doctor.
DODO: Why?
STEVEN: I don't know, and it doesn't matter. But we've got to find the Tardis before the Doctor finishes the game he's playing. Right. Throw your doll into a chair.
DODO: Throw it?
STEVEN: Yes. Six of these chairs are deadly, remember that. I don't want to see either of us caught out by one of those. Now throw it.
DODO: Very well.
(As the doll makes contact with chair number three, there's a blinding flash.)
DODO: What happened?
STEVEN: It was some sort of electrocution! That could've been us.
DODO: Yes. I see what you mean about this not being a children's party.
CYRIL: A party? Is it tea time, already? Mmmm, I smell crumpets toasting. What's that?
DODO: Oh, don't be scared of us.
(Seeing the burnt doll, the awakened Cyril takes flight down the passageway.)
STEVEN: All right, stand by. I'm going to try chair number one.
(STEVEN throws his doll onto the chair. As it hits, a fearsome blade shoots across the back of the chair, cutting the toy in two. Part of it topples to one side and falls to the floor.)
DODO: It's horrible! The Toymaker must be mad! Do you really think he means to kill us?
STEVEN: What do you think?
DODO: Well, what do we do now?
STEVEN: Well, we've got to get the other dolls. We've got to get out of this place.
DODO: We can't go in there!
STEVEN: Why?
DODO: Or they'll know about the three extra dolls then.

[Second Chair room]

(The King's doll is being shaken to pieces.)
QUEEN: Henry, turn the thing off.
KING: I don't think I can get near enough, my dear.
CYRIL: I wish you'd stop this silly game!
KING: Father's a very nice chair here for you, my boy.
CYRIL: Mother! Did you hear what he said?
QUEEN: Henry!
KING: Well, just a harmless little joke, my dear. Yes, well, I suppose we'd better try the doll in it, don't you think? Now then, upsa dazy. We shall try the doll in this chair now.
(He throws the remaining doll onto the chair number four. Both it and the chair slowly fade away.)
KING: Oh dear! It's, it's disappeared!
QUEEN: I can see that! Well, that leaves us with chairs number five and six. What do you propose we do now?
KING: Well, I suppose we'd better see how that young couple are getting on in their room.
QUEEN: Well, they can't have succeeded. We'd have had a visit from the Toymaker if they had.
KING: Ah, yes, yes. Oh, we need two more dolls. Ah, yes, a pity. I know, the Fool!
QUEEN: Oh really, Henry. How you can think of entertainment at a time like this? Oh yes, of course. I see. The Fool!
KING: Precisely, my dear.
(The King offers his arm to the Queen, and they leave the room. Left alone, Cyril glances fearfully at the chairs before scuttling after the other cards.)
CYRIL: Mother! Mother!

[First Chair room]

DODO: Be careful.
STEVEN: No, it's no use. I can't tell a thing just by looking at it. We'll have to get those other dolls.
DODO: The King and Queen are coming.
STEVEN: Good, I'll tell you what I'll do. I'll try to distract them. You step into the other room and test the chairs. If they're both deadly, then this must be the right one.
KING: Ahh! Still one chair left to try, I see.
QUEEN: Why don't you try it, girl?
DODO: Why don't you?
STEVEN: Haven't you had any luck either? And no more dolls. Well it looks like stalemate, doesn't it?
KING: Ah! Not quite, my boy. Oh no, I still have one card to play, if you'll excuse the expression.
(He nudges the Joker awake with his foot.)
JOKER: Oh, what goes up the chimney down, and can't come down the chimney up?
KING: Down the chimney. Oh no, no, no, my dear fellow, no, no not work. We want your advice, don't we my dear?
QUEEN: Advice? From a Fool?
KING: We still have to pick a throne, my dear. Ah, now then, my dear fellow, for instance, what do you think of this chair?
STEVEN: No, you don't. Not this one.
DODO: Steven, the cupboard with the other three dolls. It's locked. I can't open it.
STEVEN: But you must. It was open before.
QUEEN: Three more dolls?
KING: And you kept them from us?
QUEEN: Cheats!
KING: Oh, dear, dear.
STEVEN: Oh, you can talk after what you were about to do to this poor fellow.
JOKER: Poor fellow? What's that?
KING: Oh, nothing, my dear chap. Now, er, come with us. We can't leave you in such company.
QUEEN: Certainly not.
KING: Come on, my dear fellow.
QUEEN: Come, Cyril!
(The four playing cards proceed to the second chair room.)
STEVEN: Now you've done it. You've handed them the game right on a platter. If this isn't the real chair, we've lost the game.
DODO: I don't see that.
STEVEN: Look, they've got two more chairs to test. They get the Joker to sit on one. If this isn't the right chair, then the other one must be.
(Steven turns away in disgust. Dodo looks at him sadly, then moves over to chair number two and starts to sit down.)

[Toymaker's office]

TOYMAKER: You've been moving along very satisfactorily. It's especially commendable considering that young Dodo has chosen to sit in the wrong chair. The freezing chair.

[First Chair room]

STEVEN: Dodo, you fool!
DODO: Steven, I feel cold all the way through.
STEVEN: Stand up.
DODO: Help me. I'm freezing. I can't move.
STEVEN: Stand up.
DODO: I can't!
STEVEN: Look, try. You must. You must try.
DODO: I think I'm turning to ice, Steven.
STEVEN: Fight the cold. Fight it, Dodo. You've got to get out of that chair. Now fight it!
DODO: It's no use.
STEVEN: Look, you must try. We've got to concentrate together.
DODO: We can't.
STEVEN: We must. Now!
(She grasps his outstretched hand, and he too begins to freeze. Yet with great effort he manages to pull Dodo away.)
DODO: Oh, thank you. You did it.
STEVEN: Oh, we did it together.
DODO: Oh no, I couldn't do a thing. I couldn't move.
STEVEN: Thank goodness you're safe. The Doctor would never have forgiven me if anything had happened to you.
DODO: But, Steven, we've lost.

[Second Chair room]

KING: Well, there's a much better choice in here. Now give us your honest opinion. Which is the better chair?
JOKER: Well, sire, I think, er, perhaps that one.
KING: Number six? Good, good. Well, it is not possible really to test a chair by just looking at it. 

QUEEN: 
Well, come on, Fool. We haven't got all day.

JOKER: 
Oh, poor fellow. Poor fellow.

(The Joker stops and turns to look at the giggling Knave.)

JOKER: 
What's he laughing at?

QUEEN: 
He wasn't laughing, were you?

JOKER: 
And they call me a fool.

KING: 
Well, look, sit down, my dear fellow.

JOKER: 
Oh, not on your life, sire. A joke's a joke. I'm giving notice. You can try out your chairs for yourself.

(The Joker leaves hurriedly. The King moves threateningly towards Cyril, who takes flight after the Joker.)
KING: Huh, Your son, I think, my dear.
QUEEN: Well, what do you propose we do now?
KING: Well, there's nothing else for it. You'll have to try out the chair.
QUEEN: I?
KING: Well, one of us will have to. I know, we'll draw matches.
QUEEN: No, I don't trust your matches. We will toss for it. Heads! Ah!
KING: You forget, my dear. I know that coin. It's got two heads.
QUEEN: Then.
KING: 
We will both sit in it.
QUEEN: 
And if we go, we go together.
KING: 
My love.
(Hand in hand, they walk across to chair number six and sit down.)
 
KING: 
Nothing happened.

QUEEN: 
It's all right.

KING: 
We worried for nothing.
Suddenly the chair collapses inwards. Steven and Dodo return to find the Hearts imprisoned.







Saturday 19 October 2019

A Generation of Cavedwellers





And now we come to the most alarming Delusion of all.

The Idea That Other People 
Don't Matter.

Their Feelings.
Their Needs.


Imagine A Cave where those inside never see The Outside World.


Instead, they see shadows of that world projected on the cave wall.

[MONKEY CHATTERING.]

The world they see in the shadows is not The Real World.






But it's Real TO THEM.


If you were to show them The World as it actually is, they would reject it as incomprehensible.

Now, What If, instead of being in A Cave, you were out in The World, except you couldn't see it.


Because you weren't looking.

Because you trusted that The World you saw through The Prism was The Real World.

But there's a difference.



You see, unlike The Allegory of The Cave, where The People are Real and The Shadows are false, here Other People are The Shadows.
Their faces.
Their lives.

This is The Delusion of The Narcissist, who believes that they alone are Real.

Their feelings are the only feelings that matter because other people are just shadows, and shadows don't feel.
Because they're not Real.

But what if everyone lived in Caves? 

Then no one would be Real.
Not Even You.

Unless one day you woke up and left The Cave.
How strange The World would look after a lifetime of staring at Shadows.

Sunday 13 October 2019

World X-Files Day




SKINNER: 
I can't represent you.

MULDER: 
You know all the facts, the details the whole government conspiracy. 
(MULDER looks at SKINNER.) 
More than that, 

I TRUST YOU.

(SKINNER is stunned silent by the weight of MULDER'S complete faith in him ... of MULDER'S willingness to put his life in SKINNER'S hands.)

SCULLY: 
Mulder ...

MULDER: 
They can't try me without exposing themselves. I know what I'm doing.



SCENE 23 
TEXAS-NEW MEXICO BORDER 
5:07 AM
(The SUV driven by MULDER makes it was down the road. It pulls off to the side.)

(MULDER cuts the engine, leans toward SCULLY who is sleeping and gently kisses her cheek. He gets out of the car.)

(MULDER unzips his pants and relieves himself, when ...)

FROHIKE: Hey, hot shot! You might have the common courtesy of doing your business there downwind.

MULDER: Oh, boy.

LANGLY: Why don't you just finish draining the little lizard and then we'll talk?

BYERS: We're very worried about you.

FROHIKE: It's craziness, man. Turn around.

LANGLEY: Just hang a big U-ie and never look back.

MULDER: I can't.

BYERS: Why risk perfect happiness, Mulder? Why risk your lives?

MULDER: Because I need to know the truth.

BYERS: You already know the truth.

(MULDER thinks about that one for a moment. When he responds, its with complete honesty at what he's really doing there.)

MULDER: I need to know if I can change it.

LANGLY: Change it?

FROHIKE: For crying out loud. All you're going to do is get yourself killed.

(From behind him, SCULLY got out of the car to look for MULDER.)

SCULLY: Mulder! What are you doing?

MULDER: I'll be right with you, Scully.

(They both get back into the car.)

CUT TO:

(Day. The road they're driving on will soon end at a hidden pueblo carved into the side of a mountain.)

(MULDER stops the car. They both get out. SCULLY looks around.)

SCULLY: What are they?

MULDER: Pueblos. Anasazi Indian. Abandoned 2,000 years ago. Nobody knows why.

SCULLY: Yeah, Mulder, but what are we doing here?

(MULDER points high to the window of a ruin along the way. There's smoking coming out from the window. Someone is there.)

(MULDER heads off in that direction. SCULLY follows. They both begin to climb up to meet the Keeper of the Truth.)

CUT TO:

(Inside on of the pueblos. An old Indian woman tends to the fire. MULDER and SCULLY enter the area where she lives.)

MULDER: Hello. My name is Fox Mulder. Do you understand me?

(The old woman looks at MULDER. Without a word, she rises from her chair and pushes the cloth curtain back and disappears behind it.

(SCULLY moves up from behind MULDER and passes him bringing her closer to the curtain. She turns around to look at MULDER.)

SCULLY: Mulder, what is it?

MULDER: I was sent a message and a key to the government facility at Mount Weather. The Indians said it was from a wise man who lived in the ruins: A Keeper of the Truth.

CUT TO:

(REYES and DOGGETT are traveling by helicopter above, doing a visual search for MULDER and SCULLY based upon the information given to them by GIBSON PRAISE.)

REYES: Do you see anything at all?

(DOGGETT shakes his head and continues to scan the grounds below.)

CUT TO:




SCENE 24
(Cave entrance. MULDER and SCULLY make their way through the narrow passageway at the mouth of the cave. They're led there by the old Indian Woman. At the end where it opens up into a living space, an old white-haired man sits there waiting for them.)

(MULDER enters first followed by SCULLY.)

CSM: What's the matter, Agent Mulder?

(CSM / C.G.B. SPENDER takes a drag of the cigarette through the hole in his trachea.)

CSM: You come to see the wise man but you look as if you've seen a ghost.

MULDER: You're no wise man. You're a dead man. Just like Krycek and X.

CSM: You see a dead man, Agent Scully?

SCULLY: I hoped and prayed you were dead you chain-smoking, son of a bitch.

(MULDER looks more than a little shocked to see CSM still alive.)

CSM: You waste your time. Ask Mulder. He knows the futility of hopes and prayers. He knows the truth now.

(SCULLY looks confused at what CSM'S saying. CSM zeroes in on this immediately and begins to exploit it as he's done so many times before.)

CSM: You have told her the truth haven't you, Fox? I helped you find it.

MULDER: You didn't help me. You sent me to that government facility knowing exactly what I'd find.

CSM: And now you refuse to speak it. Not to Scully, not to anyone. You've even refused to testify what you learned ... even though it would have saved your life. You damned me for my secrets ... but you're afraid to speak the truth.

(CSM takes another drag from his cigarette.)

MULDER: You call me afraid? Look at you sitting here alone in the dark like a fossil.

(CSM exhales a puff of smoke around him.)

CSM: It's the final refuge. The last place to hide from those who are insidiously taking power now.

SCULLY: Who?

CSM: The aliens. They fear this place ... its geology. Magnetite. Like that which brought down the original UFO in Roswell. Indian wise men realized this over 2,000 years ago. They hid here and watched their own culture die. The Original Shadow Government.

CUT TO:




SCENE 25
(Outside the pueblos. The helicopter (#N218SS) carrying DOGGETT and REYES land outside the Anasazi Pueblos. They've found MULDER and SCULLY'S SUV. They both get out of the helicopter and it takes off leaving them there.)

(REYES sees an ominous-looking black SUV make its way toward them. There's a lone driver in it.)

REYES: Agent Doggett!

DOGGETT: Who the hell's that?

(It's KNOWLE ROHRER. DOGGETT and REYES both look worried as the dead man lives once again.)

CUT TO:




SCENE 26
(Back inside the pueblo, CSM takes a drag from his cigarette.)

CSM: It leaves me to tell you what Mulder's afraid to, Agent Scully.

MULDER: Come on, let's go.

(SCULLY doesn't budge,)

CSM: It's a scary story. You want to come sit on my lap?

SCULLY: You don't scare me.

CSM: My story's scared every president since Truman in '47.

MULDER: You don't have to hear this.

SCULLY: No, I want to hear it, Mulder.

CSM: Ten centuries ago the Mayans were so afraid that their calendar stopped on the exact date that my story begins. December 22, the year 2012. The date of the final alien invasion. Mulder can confirm the date. He saw it at Mount Weather ... ...where our own "Secret Government" will be hiding when it all comes down.

(SCULLY looks at MULDER. He doesn't take his eyes off of CSM. CSM has a wild glint in his eye - almost a crazed look.)

MULDER: Yeah, you smile ... feeling drunk with power. The power to do nothing.

CSM: My power comes from telling you. Seeing your powerlessness hearing it. They wanted to kill you, Fox. I protected you all these years ... waiting for this moment ... to see you broken. Afraid.

(MULDER lifts his head and schools his features to reveal nothing.)

CSM: Now you can die.

CUT TO:




SCENE 27
(Two heavily armed black ops helicopters are flying low along the roadway head to the Anasazi Pueblos.)

CUT BACK TO:




SCENE 28
(Outside the pueblos, KNOWLE ROHRER advances on DOGGETT and REYES who continue to back up slowly. Soon they won't have any room to back up anymore. DOGGETT reaches for his gun. REYES reaches for hers. They both hold it on ROHRER knowing full well that it'll be useless.)

DOGGETT: Run, Monica. Get out of here.

REYES : No.

(DOGGETT glances at REYES, accepting her decision to stand next to him.)

DOGGETT (to ROHRER): Knowle Rohrer. That's far enough.

(ROHRER continues to advance. An arrogant smugness about him.)

ROHRER: Shoot me, Agent Doggett, if you think it'll make a difference this time.

(DOGGETT fires. The bullet harmlessly hits ROHRER in the chest. He continues to stand there with the smugness about him.)

(DOGGETT and REYES both continue to back up as KNOWLE ROHRER continues to advance toward them.)

(They've run out of room behind them. ROHRER, on the other hand, has also stopped advancing. In fact, he seems to be struggling to move forward. A confused look on his face.)

(DOGGETT lowers his weapon. Something is happening to ROHRER. He's starting to spasm, He lifts his arms, unable to control their shaking. Black metallic oxidation appears on the skin under his arms and rapidly spreads.)

(DOGGETT and REYES watch as the metal within ROHRER becomes the metal without. ROHRER looks afraid. When the metal completely covers his exterior, ROHRER is sucked into the rocks. DOGGETT pushes REYES out of ROHRER'S path.)

(ROHRER smashes into the rock. REYES looks completely shocked at what she just witnessed.)

MULDER: Agent Doggett!

(Both MULDER and SCULLY appear outside the second level doorway.)

DOGGETT: Mulder, get out of there!

REYES: They know where you are!

CUT TO:

(The two black helicopters continue their path to the ruins. We see they are both very heavily armed.)

CUT BACK TO:

(DOGGETT and REYES climb into MULDER and SCULLY'S vehicle and drive it closer to MULDER and SCULLY as they make their way down the ruins.)

(MULDER runs alongside their vehicle as they approach. DOGGETT stops the car.)

MULDER: Get out of here!

DOGGETT: Get in the car.

MULDER: No!

(DOGGETT looks a little confused. They don't have much time. MULDER tells them again to leave.)

MULDER: (insistent) Go! Go!

(MULDER and SCULLY both run to the other vehicle at the site. The vehicle left behind by KNOWLE ROHRER. DOGGETT takes off.)

CUT TO:

(The helicopters are rapidly approaching the site. They're still not in view of the ruins.)

CUT BACK TO:

(MULDER and SCULLY get in the abandoned vehicle and take off in a different direction from DOGGETT and REYES. They disappear from their view around the hill.)

CUT TO:

(The helicopters round the mountain side. MULDER and SCULLY barely escape detection. The helicopters position themselves across the ruins.)

CUT TO:

(The old Indian Woman inside the pueblo panics as her pots and pans rattle at the disturbance. The helicopters hover just outside her window.)

(They fire missile after missile aimed at the ruins, destroying them whole sections at a time in fiery explosions.)

(The old Indian Woman screams.)

CUT TO:

(CSM sits inside his final "refuge", a cigarette in his hand.)

(The pueblos explode with each missile fired. The ancient stones crumble to the ground. Fire burns what little there is to burn.)

(The black helicopters swing around and hover just outside the old Indian Woman's windows. A dreamcatcher hangs from the window with the black helicopter in its sites.)

(Another missile is fired and another portion of the ruins destroyed.)

(Inside, CSM takes a last drag from his cigarette. He throws the remainder on the ground.)

(Outside, in perfect positions, the black helicopter hovers. A final missile is fired finding its intended target. The corridor and the cave fill with fire consuming the once-powerful man within.)

(The pueblos explode. Missiles upon missiles are fired until the entire mountainside is decimated. Their mission complete, the helicopters turn around and fly off into the horizon.)

CUT TO:




SCENE 29 
ROSWELL, NEW MEXICO
(Night. Outside a motel room, it's raining. Thunder rumbles. )

(Inside, MULDER is sitting on the floor, leaning back against the bed and his head resting back.)

SCULLY (o.s.): What are you thinking?

(MULDER is silent. Thoughtful.)

SCULLY: Mulder?

MULDER: I'm thinking ... I'm a guilty man. I've failed in every respect. I deserve the harshest punishment for my crimes.

SCULLY: (softly) You don't believe that.

(Mulder sighs.)

MULDER: I believe that I sat in a motel room like this with you when we first met and I tried to convince you of the truth. And in that respect, I succeeded, but ... in every other way ...

(MULDER turns to look at SCULLY)

MULDER: ... I've failed.

SCULLY: You don't believe that, either.

MULDER: Mmmm.

MULDER: I've been chasing after monsters with a butterfly net. You heard the man - the date's set. I can't change that.

SCULLY: You wouldn't tell me. Not because you were afraid or broken .... but because you didn't want to accept defeat.

MULDER: Well, I was afraid of what knowing would do to you.

(MULDER turns to look at SCULLY and confesses one of his greatest fears.)

MULDER: I was afraid that it would crush your spirit.

SCULLY: Why would I accept defeat? Why would I accept it, if you won't? Mulder, you say that you've failed but you only fail if you give up. And I know you -- you can't give up. It's what I saw in you when we first met. It's what made me follow you ... why I'd do it all over again.

MULDER: And look what it's gotten you.

SCULLY: And what has it gotten you? Not your sister. Nothing that you've set out for. But you won't give up, even now.

(SCULLY reaches out and takes hold of MULDER'S hand in a firm grip.)

SCULLY: You've always said that you want to believe. But believe in what Mulder? If this is the truth that you've been looking for then what is left to believe in?

MULDER: I want to believe that the dead are not lost to us. That they speak to us as part of something greater than us - greater than any alien force. And if you and I are powerless now, I want to believe that if we listen to what's speaking, it can give us the power to save ourselves.

SCULLY: Then we believe the same thing.

(SCULLY watches MULDER intently . MULDER looks like he Believes. SCULLY smiles at MULDER. MULDER reaches over and lightly picks up SCULLY'S cross. He reaches up and caresses her lips.)

(MULDER gets off of the floor and settles himself in bed next to SCULLY. He wraps himself around her, so that they are now holding each other closely.)

MULDER: (whispers) Maybe there's hope.

[Fade to black]

[THE *END*]







Saturday 12 October 2019

The Anti-Satan







The reversed Devil card can often appear when you are on the verge of a break-through or an up-levelling. 

You are being called to your highest potential, but first, you must let go of any unhealthy attachments or limiting beliefs that may hold you back. 

Often, when you are called to something ‘more’, you must deal with your shadows before you can step into this new version of yourself. 

It may be an addiction, unhealthy relationships, or a disengaging career. 

Let go of fear and release any self-imposed limiting beliefs standing in the way of your growth. 

It is easier than you realise.










DEVIL DESCRIPTION
The Devil card shows Baphomet, or the Horned Goat of Mendes, a creature that is half man, half goat. Baphomet originally represented the balance between good and evil, male and female, and human and animal; however, more recently, this figure has been linked to the occult and has become a scapegoat for all things considered ‘evil’.

The Devil has the wings of a vampire bat, an animal that sucks the lifeblood out of its prey, symbolic of what happens when you give in to your raw desires. He has a hypnotic stare which ‘magnetises’ and entrances those who come near him, bringing them under his power. Above him is an inverted pentagram – a sign of the darker side of magic and occultism. He raises his right hand in the Vulcan Salute – a Jewish blessing, later made famous by the film series, Star Trek. In his left hand, he holds a lit torch.
At the foot of the Devil stand a man and a woman, both naked and chained to the podium on which the Devil sits. They appear to be held here against their will – but look closer, and you will notice that the chains around their necks are loose and could be easily removed. Each has small horns on their head, like the devil’s, a sign that they are becoming increasingly like him the longer they stay here. Both have tails, a further symbol of their animalistic tendencies and raw instincts, and the grapes and the fire on their respective tails signify pleasure and lust.

NOTE: The Tarot card meaning description is based on the Rider Waite cards.
 
Upright Devil
The Devil card represents your shadow (or darker) side and the negative forces that constrain you and hold you back from being the best version of yourself. You may be at the effect of negative habits, dependencies, behaviours, thought patterns, relationships, and addictions. You have found yourself trapped between the short-term pleasure you receive and the longer-term pain you experience. Just as the Lovers card speaks to duality and choice, so too does the Devil; however, with the Devil, you are choosing the path of instant gratification, even if it is at the expense of your long-term well-being. In effect, you have sold your soul to the devil!
The Devil card often appears when you have been tricked into thinking you have no control over your shadow self or these negative forces, and that you can never break free from their hold. You believe you need it and you must have it, even if it means going against what you know to be right to obtain it. Deep down, though, you know it’s to your detriment, and you are only doing yourself (and often others) a disservice when you cave in to these lower needs and desires. To break free of these negative patterns, you need to acknowledge the hold they have over you and the impact they are having on your life. For example, the first step of Alcoholics Anonymous is an admission: “We admitted we were powerless over alcohol–that our lives had become unmanageable.”
When the Devil shows up in a Tarot reading, see it as an opportunity to bring these negative influences into your conscious awareness, so you can then take action to free yourself from their hold. Shine your light on the negative patterns that have been standing in your way for so long, and over time, you will loosen the grip they have on you. Given that the Devil is a Major Arcana card, it is unlikely that you will be free from your addictions and dependencies overnight. It may be a recurring pattern for you, and it will take a tremendous amount of willpower and strength to free yourself from their influence. But know this: it IS possible, and it is up to you to make it happen.
On the positive side, the Devil can also show a powerful attachment between two people, such as a mum and her newborn, or a new romance still in its ‘honeymoon phase’. Be careful, though, because, with the Devil card, this healthy attachment can turn into an unhealthy, co-dependent relationship if you lose connection with your inner guidance or don’t protect your personal boundaries.
The Devil can also represent sexuality and your wild side. You may be exploring bondage, fetishes and your deepest, darkest fantasies. If you can do this within a safe, sacred space, it can be a very enriching experience. However, it has the potential to turn into something that may be unsafe or detrimental to your well-being in the long-term, so again, set clear boundaries, choose your partners wisely and have your ‘safe words’ ready to go.


Reversed Devil
Devil Tarot Card Meanings tarot card meaning
The reversed Devil card can often appear when you are on the verge of a break-through or an up-levelling. You are being called to your highest potential, but first, you must let go of any unhealthy attachments or limiting beliefs that may hold you back. Often, when you are called to something ‘more’, you must deal with your shadows before you can step into this new version of yourself. It may be an addiction, unhealthy relationships, or a disengaging career. Let go of fear and release any self-imposed limiting beliefs standing in the way of your growth. It is easier than you realise.
The reversed Devil calls on you to confront your inner fears and anxieties to free yourself from the chains that bind you to your limiting beliefs and unhealthy attachments. Eliminate those things you know are harmful to you and your inner psyche. It may be about creating a healthier diet, watching less television, quitting smoking, spending more time with your loved ones, or focusing more on your goals. Take this opportunity to bring about positive change in your life by staying focused on the ultimate goal of freedom.

The Devil reversed can also appear when you are going into your deepest, darkest places – whether or not you are ready. When you take this path consciously, you do so with strength, confidence and courage. You seek to understand your innermost shadows so you can either release them or integrate them into your life in a more constructive way. When you do it unconsciously, or with resistance, it can be very confronting as you may begin to realise you are very different from who you thought you were. You may enter a period of anxiety or depression, or experiencing dark thoughts you struggle to understand. If this resonates, then please seek out a trained therapist to help you work through this time.
The reversed Devil may also be a sign you are hiding your deepest, darkest self from others, keeping it a secret. You may have thoughts, fantasies, addictions, or habits that you don’t want others to know because you feel embarrassed or ashamed. But sometimes, holding onto the secrets can contribute to a growing level of guilt, and you may feel a sense of relief if you can share your darker self with at least one trusted individual. There is also a need to accept who you are and forgive yourself for the thoughts you have. Of course, if you are at risk of harming yourself or others, please seek professional help immediately.
Finally, the Devil reversed invites you to practice the Buddhist principle of detachment, a state in which you overcome your attachment to the desire for things, people or concepts of the world, and free yourself from any restrictions. It doesn’t mean you don’t care for people or things; you release your dependence on them. You may also find that a cord-cutting visualisation helps to release any unhealthy attachments to others, especially when the Devil reversed appears in a Tarot reading.

Wednesday 9 October 2019

The Inverse Hermit


In this instance, isolation does not bring insights and epiphanies, but rather turns the person sour and against the world. 
We might well get reversed Hermit for men like the Unabomber, using their isolation to formulate crimes and destruction.

Other opposite of the Hermit is the Fool. 
Such as a teacher who uses his position to do foolish or childish things rather than to impart wisdom and insights. 

Either way, this is not a trustworthy teacher or sage.




" Introduction to Reversed Tarot Cards

" Let me start with this introduction, which is all my humble opinion.

A lot of books make it seem like you can just memorize upright AND reversed meanings at the same time. Certainly, you can, but I believe that reversals are difficult to interpret - often more so than upright. For this reason, I believe you should be familiar with the upright meanings first and save reversals for later.

Second, let me cover the oft-asked question: are reversals necessary?

The answer is no. Some readers believe that reversals allow for a wider range of meaning and possibilities. Some believe that all cards have positive and negative possibilities, and that the spread and question will inform the reader of what the card means with no need to have any of the cards upside-down. Other readers just find that reversed cards interrupt the flow of their reading, and so don't use them because they just don't like them.

In addition, some readers will use reversals with some decks and not others. And to make matters even more complex, there are some decks created with reversals in mind (the Revelations Deck, for example, which almost requires the reader to use reversals). Other decks will admonish the reader NOT to use reversals, and the backs of the cards will be such to help the reader keep the cards all going in the right direction.

In the end, whether you use reversals or not is entirely up to you. There is no right or wrong about using them.

Part II

A frequently asked question about reversals: are reversals always negative?

Answer: No. Reversals do not always mean that something horrible is going to happen or that the situation is awful and hopeless. A spread heavy on reversals may simply be a way for the cards to get a strong message across, or to inform the reader and querent that there is a pessimistic, negative or blocked outlook to the problem. In short, that a change of attitude, beliefs, ways of tackling the problem can restore the energy and get things moving again.

This brings us to the three most common ways to interpret reversed cards.

1) Opposite: the meaning of the card is the opposite of its upright meaning. Frankly, I think this is the weakest and sloppiest of possibilities when it comes to reversals - it's a little too simplistic and has one problem: if a "bad" card is reversed, does that now make it a "good" card? So, reverse the Ten of Swords, Five of Pentacles or Three of Swords and the message is now a good one? We'll get back to that...but the answer is, not necessarily.

2) Blockage: the energy of the card is blocked or diminished. Quoting myself, from an earlier spread on the subject: "One of the best discussions of reversals I recall was one where we theorized that reversals are like running aground or being caught in an eddy. Uprights move the energy forward, as on a river. Reversals indicate that this energy is not flowing."

This means that if the Three of Swords is reversed, then its energy is blocked. If that energy includes communication, however hurtful that communication, then it is being dammed up. The vocalizing of something important is being held back and the results, positive as well as negative, are being held back as well. Nothing can go forward.

3) Upside-down Image. This is where you re-interpret the image given that it is upside-down. So, upright cups are now spilled, and that man in the Ten of Swords - he's actually worse off than when he was upright. Upright, the swords are all in his back - the nightmare had ended, it is over and done with. Reversed, he's on top of them sinking down to their hilts - it's a lingering end, drawn out and torturous.

In the end, reversals are not happy things - but they are, perhaps, important life lessons which teach us far more than if we only got sunny uprights.





The Hermit Reversed Tarot Card Meaning

Upright, the Hermit is about a time of solitude and introspection, of investigation, learning, enlightenment and sometime teaching. Reversed....

1) Opposite: If we take "opposite" to mean the negatives of the card then we can view the reversed card as all the evil stereotypes of hermits. The mean old man, isolated, misanthropic, paranoid. In this instance, isolation does not bring insights and epiphanies, but rather turns the person sour and against the world. We might well get reversed Hermit for men like the Unabomber, using their isolation to formulate crimes and destruction.

Other opposite of the Hermit is the Fool. Such as a teacher who uses his position to do foolish or childish things rather than to impart wisdom and insights. Either way, this is not a trustworthy teacher or sage.

2) Blocked: The power of the Hermit - his energy - is in his lantern. The Hermit has keen insight, and an ability to see what is hidden to others, to look beneath the surface. If this is blocked, then we might well say that the Hermit's lantern has been shuttered. It offers no light and the Hermit is left in darkness.

Thus, if reading this card as blocked, a reader might say to a querent that they are having trouble shedding light on a problem, or that they're alone in the dark in this situation. To get out, they must find a way to rekindle their lantern. The lantern is emblematic of their keen mind, sharp eye, and analytical abilities. Though currently in darkness, the hermit has the means to shed light on things if he'll just rekindle his lantern.

3) Upside-down: the most telling thing about the Hermit upside-down is that he loses his lantern. This is similar to the blocked interpretation, only worse. In the blocked interpretation the lantern can be re-illuminated. But upside-down, the lantern is gone. The Hermit is totally in the dark...and all alone. He has lost all ability to find his way and is going to have to stumble on home if he can.

I would see this extreme example in the case of people having some mental problems - they can't concentrate, they can't think, they can't remember or see things clearly anymore. An elder who is foolishly giving away his money, for example, might well be a Hermit reversed. A once wise and canny old fellow who seems to have completely lost his lantern, his ability to make intelligent decisions.

http://www.aeclectic.net/tarot/card-meanings/reversed/introduction.shtml