Morgan’s Folk — Clan MoMo, The House of Morgan

Et non abscondam, sed 

numquid currere queunt. 

You Can Hide, But 

You Can’t Run.

JOHN DORIE :

(crickets chirping ) 

( fire crackling ) 

( rustling ) 

Someone there? 
I mean not one of The Past? 

( clears throat ) 

I haven't used My Voice in a while.

Uh, am I talkin' loud? I am.

Maybe, sir or madam, you are not there, 

but it is something to hear 

Your Voice after a bit.

Just saying words.

Platypus.

Pasta.

Potable.

Hmm.

If you are there, you can 

come out. We can sit.

Split a can of Pecos strawberries.

Have a little badinage, 

my mama used to say.

That's just a fancy word for chat.

It's been - I don't know maybe a year.

( clears throat ) 
I had a place where I was before.

I had a good metric ton of popcorn.

I've still got a lot.

I could make some.

I just read books.

I - I watched movies mostly.

But I read-- I read books now.

I got a few with me if you have 

a need for reading material.

( sighs ) 
Well since there is no one there 

hmm before I go quiet again for 

maybe another year I might as well 

tell you that I-- I did talk to someone.

She wasn't just someone.

She came to my door.

Just showed up.

I let her stay.

And we fell - We had 

feelings for each other.

One day we allowed it.

One day.

I just thought I'd say that.

'Cause I supposed I would 

see it when I said it.

And I did.

And that was nice.

There ain't been a lot of nice.

( growling )
( gunshot ) 
( thud ) So What's Your Story? 




( pounding on door ) 

Jesus: 

If you're gonna hit me with your stick, don't open the door.

Well, you know if you're gonna try.

( sighs ) 
Looks like you've settled in out here.

I thought maybe we could continue our acquaintance.

"Here" and "there" are just labels.

It's all one place.

You could do all this somewhere else.

Or well in the same place somewhere else.

( Morgan chuckles ) 

Come on.

The reason we fought is 'cause you wanted to protect people.

You care about people.

You should be with them.

( pounding on door ) 

Carol:

It's me.

Come back to The Kingdom.

You helped me.

You did.

Let me help you.

I don't want to tell you what to do.

( sighs ) 

But You Know Who I am 

and 

I Know Who You Are.

You belong with people who care about you.

( banging on door ) 

Rick :

Come on, Morgan! 

You can hide but you can't run.

Look, I wouldn't be here if it wasn't for you.

I wouldn't.

I was hurt.

( sighs ) 

You brought me in.

You didn't have to.

Morgan, you don't have a gunshot in your side, but you are hurt.

Come back with me.

Don't wait this time.

Don't waste one more second.

You're alive.

You're part of The World.

Look, I'm here now-- a lot of people are here now-- because you helped me.

Right at The Beginning.

That's not me anymore, Rick.

It is.

You'll end up with people one way or another.

You're connected.

It'll be a shout from outside that door.

Me askin' for help -- Maggie.

You're a part of The World already.

You'll find your way back to it, 'cause it will find its way back to you, so just come back.

( chuckles ) 

Well, like I said, you can hide but you can't run.

( door clanks, hinges creak ) 

( door closes ) ( bird squawks in distance ) 

RICK: 

Thanks for lettin' me in.

You don't have to be out here.

I came for you before.

( voices echo ) 

Don't wait this time.

Don't waste one more second.

You're alive.

Thanks for lettin' me in.

You can hide but you can't run.

You know what it is.

You know what it is.

MAN IN CAR : 
Take that shit home.

- Take it back! 

MORGAN :
I'm just trying to help.

Looked like you were on your own.

MAN IN CAR:
We're always on our own.

Shut the door.

JOHN DORRIE :
: I just thought I'd say that.

And I supposed I would see it when I said it.

- ( growling ) - ( man continues ) ( gunshot ) 


So what's your story? 

MORGAN :
I'm just passin' through.


 JOHN DORRIE :

Well, why don't you come on and sit a spell? 
I don't know how much you heard, but I-- 
It's been a while since I talked to someone.

I'm John.

John Dorie, like the fish.

But I-E, no Y.

MORGAN :
Morgan.

Morgan.

Are you hungry, Morgan? 'Cause I could cook you something.

I got beans and I got beans.

No, thank you.

Hey.

( wrapper crinkling ) It's tasty.

No.

Where you from? Back east.

- You walk? - I ran.

( chuckles ) Hey.

In your travels, did you, uh come across a woman carrying a pistol like this? Identical, in point of fact.

I've been looking for her for some time.

Not seen anybody like that.

I'm gonna go.

Wait-- Hey, there-- there's no sense in settin' out this time of night.

Why don't you take the back of the truck? I'll take the cab.

Or vice versa.

I think having a covered place to lay your head would give you some relief.

Having come as far as you have.

Yeah.

( Dorie snoring ) ( snoring continues ) ( cab door closes ) ( object strikes ) 

I got nobody to tell.

I don't know anybody here.

Don't wanna know anybody.

- ( gunshot ) - ( man groans ) - ( gun clicks ) - John: I got no beef with you gentlemen.

I'm just lookin' out for my friend.

Hey, thanks for givin' us a hand back there.

Al, is it? 

Althea, actually.

There's a candy for you.

Thank you.

John: Ho.

- You're quick.

- I am.

Well, easy there, cowboy.

- ( bag unzips ) - I didn't save you so I could kill you.

I just want to ask you a few questions.

- Questions? - Yeah.

What you've seen.

Who you've met.

Where you've been.

Where you're going.

JOHN DORRIE :
Why? 

It's for a story.

I'm a journalist.

You were alone at the cabin.

JOHN DORRIE :
Yeah.

- Before Lauren showed up? 


JOHN DORRIE :
Laura.

Right.

Sorry.

JOHN DORRIE :
Nope.

Nobody.

I talked to myself a lot.

But I had to quit.

Al: 
Why? 

JOHN DORRIE :
Because I started enjoying that conversation too much!

( chuckles ) 


What else can you tell me about Laura? 
In case we ever cross paths.

JOHN DORRIE :
Mm she enjoyed a Black Jack.

Card player.

JOHN DORRIE :
Taffy.

Licorice.

I never much cared for 'em before.

And now? 



JOHN DORRIE :
I don't mind 'em.

You think you'll find her? 


JOHN DORRIE :

I know I will.

How exactly did you get split up? 

JOHN DORRIE :
( inhales ) 
Um, I'm afraid that's not a very happy story.

Most aren't nowadays.

JOHN DORRIE :
Ours will be.

This one will be.

Once we find our way back to each other.

Was that? 




Great.

Thank you.

JOHN DORRIE :
Sure.

How about you? 
How long you been on the road? 



What does it matter? 
These questions-- There's no news stations left.

I saved you.

Noodles and effort.

You owe me.

No.

I don't need that.

I need your story.

Al: What brought you out here? You goin' somewhere? - Getting away from something-- - I didn't ask you to save me.

I'm gonna go.

Or are you saying I can't? 


John: 
 Hold up.

Hold up, friend.

Hey, you've been held at gunpoint with somebody, I think you earned the right to call him friend.

I don't want to answer any more questions.

I just want to be left be.

JOHN DORRIE :
Well, I just want to give you something.

OK? Clean socks.

Worth their weight in gold.

'Course, gold ain't worth much nowadays.

I seen the pair you was wearing 'round the campfire.

I think it's time for an upgrade.

Thanks.

Apologies about the corn.

Especially since they're for your feet.

You sure you're gonna be all right out there on your own? This World we're always on our own.

Wait.

Wait.

Thanks for the assist.

That guy-- that was a unique kind of asshole.

But I did not want to kill anybody today.

( grunting ) - Anyone know what that 51 means? - Al: Markers like that had been popping up around here the last few weeks, but never anyone around to ask but the dead.

The dead? I call 'em the passed.

Call 'em walkers where I'm from.

Look at that.

A piece of personal history.

You still owe me.

Then pull over.

Al:
 Your name? 

Morgan Jones.

Where do you come from? 


Atlanta and, um then Virginia.

How'd you get here? 

I ran.

Then I walked, drove walked again.

Were you part of a settlement in Virginia? 

A couple.

Can you tell me about them? 
( chuckles ) 
One of them was called Alexandria, 
and then there was a place called The Kingdom.

Actually had-- had a king.

A king? 


( laughs )
Even had a pet tiger.

( laughs ) 
( John chuckles ) 

All right, we're gonna have to sidebar that one.

These settlements, were they good places to live? 
They were safe places.

Good people inside.

I had been with some of them for a while.

It-- 

Al: 
What happened? 


There was a fight.

With another group.

It was a big, big group.

We won.

But you didn't stay.

I already left before I left.

I don't understand.

Did they do something? 
Or did you? 


I told you things, and that was the trade.

You told me you were with good people in Virginia, and then you left.

Why? Were you trying to get something? Get away from something? How about you tell me about you? Like, um, how'd you get this van? And why asking total strangers questions like this is so important to you.

Huh? - Look, I saved your ass.

- And we saved yours.

Well I want to thank you both for your help.

But I think it's time that I was going on my way.

- What about your leg? - No, I'm fine.

- Morgan.

- Man, I told you I'm fine.

Tell me one real thing, then we'll call it even.

Why'd you leave Virginia? ( sniffles ) I lose people and then I lose myself.

( staff thudding on ground )


JOHN DORRIE :

You were wrong what you said before about bein' on your own.

( sighs ) 
Here.

( groans )
 There you go.

OK? 


Thank you.

Morgan.

That walker-- I need to know.

All right.

Hey, hey! All right.

Wait, wait.

Wait.

All right.

Give it to me.

Come on.

All right.

Thank you.

( growling ) OK.

( growling ) ( taps ground with staff ) ( snarls ) ( inhales, exhales ) 


John: 
I'm glad we found you.

I'm just travelin' with you till this leg heals up.

And no more questions.

I'm not gonna stop asking you questions.

Especially about that tiger.

- No more answers, then.

- ( laughs ) Fair play.

Come on.

It's tasty.

Where we headed? 
Well, Al took me back to my truck, but it wouldn't start.

Now she's taking me to look for Laura.

In exchange for more of his story.

That's right.

That's right.

I don't know if I'll find her.

I don't.

I just don't think about it that far 'cause it don't do me no good.

But I recognize it as Truth.

Truth is something you can't get around.

No, you can't.

- There's somebody up ahead.

- What? John: Oh, come on.

( John grunts ) Thought you said there weren't a lot of people 'round these parts.

There aren't.

( air brakes hiss ) ( engine shuts off ) - Take this.

- Can't.

I don't kill.

( chuckles ) 
Come on, dude, you gotta answer some of my questions at some point.

I don't kill either.

At least I try not to.

Great moment for both of you to share this fact.

MENARCH

They attract Tigers and Sharks.

What Would Diana Do?

What Would Diana Do?

Why Are You Cardassian?

Writer Robert Hewitt Wolfe wanted Dr. Bashir to tell Kira at the end of the episode that he could not confirm whether she was a Cardassian replacement or the authentic Bajoran Kira in order to leave Kira permanently unsure of her original ‘identity’. 

He felt this would emphasize that our identity is based on our experiences and who we have been, 

regardless of one's actual origins; 

"She has been Kira Nerys. She may be the real Kira Nerys, she may be a replacement, but she's Kira Nerys now, and it doesn't really matter. 

Your identity is who you are, 

it doesn't matter how you get there, 

it doesn't matter whether it's True or a Lie, 

if you've lived it long enough, 

it's True." 

However, this idea was dropped from the final version of the story.

BECAUSE IT ISN’T CORRECT

“The London School of Economics is, as it boasts of itself, one of the world’s leading universities of the social sciences: ‘With an international intake and a global reach, LSE has always put engagement with the wider world at the heart of its mission.’ 

Over at its LSE Review of Books page in May 2012 a review appeared of a new book by Thomas Sowell. Intellectuals and Society had come out two years earlier, but in the world of academia intellectual drive-by shootings often happen at a more leisurely pace than in the rest of society. 

The reviewer, Aidan Byrne, was the ‘Senior Lecturer in English and Media/Cultural Studies’ at Wolverhampton University. In this capacity – his byline informed us – ‘he specialises in masculinity in interwar Welsh and political fiction, and teaches on a wide range of modules’. 

A perfect authority for the LSE Review of Books to put in judgement over Sowell. For his part, Byrne was ‘unimpressed’ by the ‘highly partisan’ nature of the book. 

And so, two years after Sowell’s book had been published, Byrne took aim and attempted to fire. 

From his opening line he warned that ‘Intellectuals and Society consists of a series of outdated and sometimes dishonest shots at Sowell’s political enemies.’ 

Among other charges included in Byrne’s review was a claim that one line in Sowell’s book echoed the concerns of the Tea Party and constituted ‘a thinly-disguised attack on racial integration’. 

An even odder allegation against Sowell came when Byrne warned readers that Sowell’s references to racial issues constituted little more than ‘disordered and disturbing “dog-whistles”’. 

In a similar fashion, Sowell’s arguments about the legacies of the past were also ‘a coded intervention’. Warming to his theme, Byrne explained that ‘To him [Sowell], slavery’s cultural legacy means that it shouldn’t be considered a moral problem, nor should amelioration be attempted.’ 

To this charge Byrne then added the devastating rider which turned out to be an act of unbelievable self-harm.

To their credit, as it now stands the LSE site has an ‘amendment’ at the bottom of the piece online. 

It is one of the great corrections. 

It simply notes the deletion of a line from the original piece. ‘The original post contained the line “easy for a rich white man to say”’, admitted the LSE site. ‘This has been removed and we apologise for this error.’

As well they might. For of course whatever the state of his income, Thomas Sowell is not a white man. He is a black man. A very famous black man – who LSE’s reviewer only thought to be white because of the nature of his politics.

It is a suggestion that has crept into an otherwise liberal debate with barely a murmur of dissent. 

And it has arrived from quite a range of directions. 

Consider for instance the reaction to the strange, and vaguely pitiful, case of Rachel Dolezal. This was the woman who became almost world famous in 2015 when, as regional head of the NAACP, she was suddenly ‘outed’ as white. During a television interview, Dolezal was memorably asked if she herself was black. She pretended not to understand the question. 

When confronted with the evidence of her birth parents the interview crashed into a buffer. 

For Dolezal’s parents were not merely Caucasians, but Caucasians of German-Czech origin – which is very far away from the black American identity that Dolezal herself had adopted. 

Eventually, while admitting that her parents were indeed her parents, she insisted that – nevertheless – she was black. 

Her identification with the black community in America seemed to have come about through her closeness to her adopted black siblings. 

Nevertheless, as her adoptive brother said, ‘She grew up a white, privileged person in Montana.’ 

She had managed to pass herself off as black by little more than the careful application of bronzer and a somewhat stereotypical frizzing up of her hair. 

This – and the fact that most people were clearly too terrified to say, ‘But aren’t you white?’ – meant that Dolezal was able not only to ‘pass’ as black but head up the local chapter of an organization set up for black people. 

The Dolezal case threw up an almost endless series of questions, and both it and the responses to it in some ways presented an opportunity to dissect a whole array of aspects of today’s culture. 

Not least among these moments was the divide that arose among prominent black people, spokespeople and activists. 

On The View on ABC-TV, Whoopi Goldberg defended Dolezal. ‘If she wants to be black, she can be black’, was Goldberg’s view.

It seemed that ‘blacking up’ was not a problem on this occasion. More interesting was the reaction of Michael Eric Dyson, who stood up for Dolezal in a remarkable way. On MSNBC he declared of Dolezal, ‘She’s taking on the ideas, the identities, the struggles. She’s identified with them. I bet a lot more black people would support Rachel Dolezal than would support, say, Clarence Thomas.’

All of which suggested that ‘black’ was not to do with skin colour, or race. But only politics. So much so that a Caucasian wearing bronzer but holding the ‘right’ opinions was more black than a black Supreme Court Justice if that black Supreme Court Justice happens to be a conservative.

PLUTO

THE FERRYMAN :

Come with me.

(They descend into The Underworld)

PLUTO :

Excuse me.

Thank you very much for coming.

It makes me happy that you ... Goodness gracious.

RAPHAEL :

A problem?

PLUTO :

Forgive me.

Sit down.

Can I ask your name?

RAPHAEL :

Raphael.

PLUTO :

Raphael.

A beautiful name.

It is unfortunate that we have to meet, us, under conditions all so dismal.

What we do here — It's a show, immune to the spotlight.

Can I offer you refreshment?

Take a drink.

Tell me —

You're afraid to die?

RAPHAEL :

Are you?

PLUTO :

No.

No, no I do not have fear of dying.

Today I consider that death is.... an absolute necessity....

metamorphosis

It may be that - Death is painful

Death is something something subtle.

If we suffer at birth, the day we came into The World, then it is normal to suffer in The End - 

It's like a transfiguration....as if we solve an equation.

Have you ever seen a woman give birth?

The face is deformed.

Full of sweat and anguish.

But strangely, punctuated by joy.

You see, somewhere Raphael

I feel an affinity, a communion of our spirits.

To see with his eyes a horrible death can be a great source of inspiration for those who remain.

Thus they see how we can be tough once the time comes.

To resist death, is absolute courage.

It is a delicious torment.

And — Forgive me.

But the more one sees Death appear finally before us the more we must -

welcome him wholeheartedly.

It seems today that the closer you get of death in our lifetime plus the passage into nothingness are effortless.

And in our  parting,  the most beautiful gifts we can offer to our loved-ones is the courage to face death.

And this is the finest and largest contribution that a man can make to another man.

RAPHAEL :

Whatever ....

How much will you pay me for that?

PLUTO :

Well, if you want to be realistic, the amount will depend on Your courage and your good will.

Plus how you’re able to hold, mentally and physically

But the sum will be important.

Yes, I know, it's always..... how to say offensive, injurious to give value to life.

But we must render unto Caesar what is Caesar's

And unto God what is God's.

So - I say $ 50,000

I give you one third immediately.

RAPHAEL :

What if I split!?

PLUTO :

You know, I spent a good half of my life to develop an instinct -

An instinct about people.

With a man of your caliber,

Your culture,

Your honesty —

No, I do not think that you would do that.

Get it now

And respect your commitment

RAPHAEL :

Yes.

When should I return?

PLUTO :

Say in a week.

Yes, one week.

Goodbye my friend.

Deep Blue

“It is customary to list indigo as a color lying between blue and violet, but it has never seemed to me that indigo is worth the dignity of being considered a separate color. 

To my eyes it seems merely 

Deep Blue.”

— Asimov

Dr. Sojii Asha :

I was just contemplating 

The Logic of Sacrifice.

Admiral JL Picard :

I don’t think I like the sound of that.....

Very few readers of the Golden Bough have pierced Sir Prof. Dr. Frazer's veil of euphemism and surmised the exact method used by Isis in restoring life to Osiris, although this is shown quite clearly in extant Egyptian frescoes. 

Those who are acquainted with this simple technique of resurrecting the dead (which is at least partially successful in all cases and totally successful in most) will have no trouble in skrying the esoteric connotations of the Sacred Chao—or of the Taoist yin-yang or the astrological sign of cancer. 

The method almost completely reverses that of the pentagrams, right or left, and it can even be said that in a certain sense it was not Osiris himself but his brother, Set, symbolically understood, who was the object of Isis's magical workings. 

In every case, without exception, a magical or mystical symbol always refers to one of the very few* variations of the same, very special variety of human sacrifice: the "one eye opening" or the "one hand clapping"; and this sacrifice cannot be partial—it must culminate in death if it is to be efficacious. 

The literal- mindedness of the Saures, in the novel, caused them to become a menace to life on earth; the reader should bear this in mind. 

The sacrifice is not simple. 

It is a species of cowardice, epidemic in Anglo-Saxon nations for more than three centuries, which causes most who seek success in this field to stop short before the death of the victim. 

Anything less than death—that is, complete oblivion—simply will not work.** 

(One will find more clarity on this crucial point in the poetry of John Donne than in most treatises alleging to explain the secrets of magick.)

* Fewer than seventy, according to a classical enumeration.

** The magician must always identify fully with the victim, and share every agonized contortion to the utmost. Any attitude of standing aside and watching, as in a theatrical performance, or any intellectualization during the moments when the sword is doing its brutal but necessary work, or any squeamishness or guilt or revulsion, creates the two-mindedness against which Hagbard so vehemently warns in Never Whistle While You're Pissing. In a sense, only the mind dies

The essential and original meaning, of course, is a program for a ritual, and the ritual is magick. 

The four letters are simply the four beats in Wilhelm Reich's formula: 

muscular tension   

electrical charge   

electrical discharge   

muscular relaxation 

In short, as Freud once noted, every sexual act involves, at a minimum, four parties. 

The father and son provide a "fist" and a "nail"; 

the mother and daughter provide two "windows." 

The case of the Chicago schizophrenic killer William Heirens, who experienced orgasm when climbing through windows, demonstrates that this symbolism does not have to be taught and is inherent in the human mind, although always subject to the distortion exemplified by the Saures.

Finally, the universal blessing given on page 218 is intimately involved with the YHVH formula:

I bless Ra, the fierce sun burning bright I bless Isis-Luna in the night

I bless the air, the Horus-Hawk

I bless the earth on which I walk

The fiery father, the watery mother, the airy son, and the earthy daughter are all there, just as they are in every alchemical formula.* But we say no more at this point, lest the reader begin seeking for a 5 = 4 equation to balance the 5 = 6.

We conclude with a final warning and clarification: Resort to mass sacrifice (as among the Aztecs, the Catholic Inquisition, and the Nazi death camps) is the device of those who are incapable of the true Rite of the Dying God.

* In this connection—and also, en passant, as an indication that Adolf Hitler's link with the Illuminati was not invented for this work of "fiction"—we suggest that the reader look into The Morning of the Magicians, by Pauwels and Bergier.