Wednesday, 30 June 2021

Salvator Mundi








"Again, all that feels to me like the last ferocious attempts at asserting its fading power by the Osiris energy of the last 2000 years, now gone rotten and unsustainable but trying harder to keep everything and everybody under increasingly deranged levels of control in every area of our lives."


Cancer Man :
You really don't give up, do you?
But then you have so much to lose.
It's what we have in common.

Salvator Mundi :
We have nothing in common.

Cancer Man :
I need The Boy.
The Boy is mine.

Salvator Mundi :
The Boy would rather die first, now that he knows The Truth.

Cancer Man :
That I'm the one who made him?
That I'm William's creator?

Salvator Mundi
You'd shoot your own firstborn son?

Cancer Man
Shot my SECOND-born son once — But I need you to know, Fox, 
when I gave you life, 
I never fathomed the moment would come when I would need to end it.

Salvator Mundi
I don't think you can do it.

Cancer Man
Then you don't know me very well.




In one legend, Merlin was intended to be an Antichrist figure, begotten on a virgin by the Devil. His mother, however, had the boy baptized at birth, freeing him from the Devil's influence. His demonic heritage gave him the ability to see into the past and future, a gift that is often carried over to myths that do not include this origin story. In other myths, his father is an angel, a fae, or even no one.

In most tellings of Arthur's origin story, Merlin's magic helped Uther Pendragon seduce and bed another man's wife (Igraine), leading to the conception of Arthur, whom he prophesized would be a great king. In return, Merlin was given the baby boy, who was fostered by a knight as his own son and later prepared by Merlin for kingship.


Merlin's final fate varies from telling to telling. In some recountings, he loses his wits when Arthur is slain. In others, he is tricked and imprisoned by the witch Niviane (or Nimue), whom he deeply loved and taught magic.
For the 2008 British TV series, see Merlin. For the 1998 miniseries, see Merlin.
Tropes:
Anti Anti Christ: Merlin's mother was raped/seduced by either the Devil or some random demon, but she had Merlin baptized as soon as he was born. This relieved him of his Antichrist status but still let him keep his nifty magical powers. Since Medieval Christianity generally thought any sort of power must come from either God or Satan, this story explained how Merlin performed his magical acts without being a saint.
The Anti-Christ: In some stories, Merlin was the Antichrist but instead of destroying the world, became good and decided to help Arthur become the King of Britain.
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The Archmage: Depending on the version of the tale.
Badass Beard: He's famous for his Wizard Beard, which isn't actually mentioned in the medieval texts. But it is rare to see him depicted nowadays without one.
Badass Long Robe: Standard apparel for wizards, which again isn't explicitly described in the texts.
Barefoot Sage: He's depicted barefoot in many illustrations, including those by Gustave Dore.
Because Destiny Says So: In this case, "destiny" goes by "Merlin."
Born of Magic: Some pre-Christian versions of Merlin's birth never explain how he came to be, his mother suddenly becoming pregnant despite having turned down every advance made to her. When the angry menfolk demanded to know who the father was, Merlin shut them up by demonstrating his magic power. Christian versions make him the son of a demon and a virgin... perhaps because to Christians, having a godless wizard born to a virgin birth (and having multiple stories about supernatural figures born to virgins circulating in general) had bad implication.
Bowdlerise: As Christianity gained more influence, Merlin became less of a trickster and mage and more of a wise old mentor. His demonic parentage, however, became a part of the story because of Christian influence. The point was to explain why a heroic character was able to use godless magic. His moral ambiguity was likewise explained as the goodness of his mother and evil of his father struggling in him.
Canon Immigrant: Merlin did not appear in the earliest stratum of Arthurian myths, although he's been around longer than Lancelot and the Holy Grail. Merlin's legend comes from Welsh roots. The earlier traditions of Myrddin Wyllt (Merlin/Myrddin the Wild) were tied to Merlin in Vita Merlini.
The Chessmaster: Oh so much. He's behind so much of what happens in Arthurian legend.
The Chooser of The One: Merlin is basically behind the creation of King Arthur and why Arthur becomes king.
Composite Character: In his original appearance in Geoffrey of Monmouth's History of the Kings of Britain, Merlin is based on the Waif Prophet Ambrosius from the earlier History of the Britons attributed to Nennius. But Geoffrey renamed him "Merlin" based on the figure of Myrddin from Welsh tales, and later wrote a Life of Merlin equating the two further. Ambrosius in turn appears to be based on a real person, Ambrosius Aurelianus, who Geoffrey also used under the name "Aurelius Ambrosius" as Uther's brother and Arthur's uncle.
Cool Old Guy: In some incarnations.
Court Mage: To King Arthur.
Depending on the Writer: There are so many different depictions of Merlin that it's hard to reconcile them as the same person.
Distaff Counterpart: According to the earliest Welsh legends 'Myrddin' had a twin sister Ganeida or Ganicenda.
Divine Parentage: According to some myths, Merlin is said to be the son of a deity or the son of The Devil.
Eccentric Mentor: In some depictions.
Functional Magic: Well, yeah. He's a wizard.
Half-Human Hybrid: Merlin is traditionally depicted as a cambion — the son of a woman (sometimes a witch, occasionally a nun) and an incubus, or sometimes a man and a succubus, a Christianization of the legend given as an explanation for his magical and prophetic abilities. The woman incidentally is nearly always a raped nun who dunks her newborn into holy water to wash evil away from him as soon as he is born, but he still grows up a horny bastard with a taste for young virgins — the modern versions tend to forget that aspect of his character (with an exception or two). Modern interpretations of the legends vary significantly on Merlin's parentage.
Hermit Guru: Before his Bowdlerisation. Myrddin Wyllt was a wild, hairy man living out in the wilderness, receiving prophecies and talking to the wildlife.
Human Mom, Non-Human Dad: Merlin was born to a mortal human woman and a non-human father. The species of Merlin's father varies from legend to legend.
I Have Many Names: Too many to count.
Last of His Kind: Merlin is revealed as the last of the shape-changers in his childhood, before Arthur's birth.
Magic Staff: Merlin's Weapon of Choice in many depictions, though the medieval stories don't really mention it.
The Man Behind the Man: In regards to Arthur. According to legend, many thought that Arthur was Merlin's puppet and that Merlin was the one who was actually in control of Arthur and his reign as king. Which might be true, considering how much of a strong influence Merlin is in Arthurian legend and all the events that happened.
May–December Romance: With Niviane.
The Mentor: To King Arthur.
Merlin and Nimue: The Trope Maker, Codifier, and Namer.
Merlin Sickness: Also the Trope Namer, Maker and Codifier, thanks to T.H. White, who introduced it in The Once and Future King.
The Omniscient: Through a combination of being born with a nigh complete understanding of the past and present and being gifted the power to see the future.
Parental Substitute: To Arthur, especially in modern retellings, codified by The Sword in the Stone. Most medieval versions have him showing himself to Arthur around the time he becomes king, drawing the sword from the stone.
Power Creep, Power Seep: Though centuries of stories, Merlin has grown in popular perception, especially in Super Hero story worlds like the The DCU and the Marvel Universe, from a mere mage to becoming the Sorceror Supreme of his time with almost godlike power.
Public Domain Artifact: He is credited as the creator of Excalibur in later myths.
Public Domain Character: A very old one at that. He has been done and redone dozens of times in various media, from legendary badass, to newbie mage, to a female version of himself.
Rasputinian Death: In his earliest incarnation, it was said this was the only way to kill him.
Sealed Good in a Can: When betrayed by Niviane. Can be King in the Mountain when the myth says she sealed him in a cave.
Seer/Oracular Urchin: It is said that God Himself granted Merlin powers of prophecy that, coupled with his already expansive knowledge of the past and present, rendered him functionally omniscient.
Semi-Divine: Merlin is often portrayed as the child of a demon and mortal.
Shapeshifting: One of his many magical powers.
The Smart Guy: Merlin is a wizard after all.
Stealth Hi/Bye: One of his many magical powers. He seems to really enjoy appearing out of nowhere, and disappearing in front of everyone.
Trickster Mentor: He is frequently depicted teaching Arthur and others, while having a trickster's personality.
Waif Prophet: His first appearance in the medieval stories is as one.
Wizard Beard: As part of his Wizard Classic attributes, whenever he's old. If he is depicted in his youth, he will usually be clean-shaven.
Wizard Classic: The Trope Maker and one of the most iconic examples. Notable because the medieval texts don't actually describe his appearance except sometimes when he's in disguise, so the wizard image must have been formed throughout the ages and been taken for granted.

No Moon






The Time Machine (2002) - Moon Breaking Scene

Astronaut TAYLOR :

OK. We're here to stay.


Astronaut LANDON :

Well, where are we? 

Do you have any notion, skipper?


Astronaut TAYLOR :

We're 320 light years from Earth on an unnamed planet in orbit around a star in the constellation of Orion.

Is that close enough for you?


Astronaut DODGE :

That could be Bellatrix.


Astronaut LANDON :

It’s too white for Bellatrix.


Astronaut DODGE :

You didn't have time to read the tapes. 

So you really don't know, do you?


Astronaut LANDON :

What went wrong? 

We weren't programmed to land in the water.


Astronaut TAYLOR :

The Question is not so much 

where we are as when we are.



******

Astronaut LANDON :

It doesn't add up. 

Thunder and lightning, and no rain

Cloud cover at night.


Astronaut DODGE :

That strange luminosity, yet no moon.

If we could just get a fix.


Astronaut TAYLOR :

What would that tell you? 

I've told you Where You Are and When You Are.


Astronaut LANDON :

All right, all right.


Astronaut TAYLOR :

You're 300 light years

from your precious planet.


Your loved ones are dead and

forgotten for twenty centuries.


Twenty. Even if you could get back, they'd think you were something that fell out of A Tree.


Astronaut DODGE :

Taylor, quit riding him.


Astronaut TAYLOR :

There is just one reality.

We are here and it is now.


You get hold of that, 

or you might as well be dead.


Fire is The Devil Hiding Like A Coward in The Smoke.



ACT THREE
 
FADE IN:
 
22. INT. DR. JACOBY'S OFFICE - DAY
 
We don't immediately realize where we are. 
Seated in a half circle of chairs are MAJOR BRIGGS, MRS. BRIGGS and Bobby, who can't believe what he's hearing.
 
MRS. BRIGGS
He's been spending more and more of his time alone in
his room.
 
MAJOR BRIGGS
It's become much more difficult to engage him in
conversation.
 
MRS. BRIGGS
Terrible mood swings.
 
MAJOR BRIGGS
We've been told by the school that his attendance has
become erratic at best.
 
MRS. BRIGGS
And of course the recent trouble with public fighting.
Both at the Roadhouse and the funeral.
 
And now we see who they're talking to, sitting in a leather chair, nodding sagely ...
 
DR. JACOBY
Are you using drugs, Bobby?
 
BOBBY
No I'm not.
 
MAJOR BRIGGS
Alcohol.
 
MRS. BRIGGS
Alcohol's a drug.
 
BOBBY
That's not what he meant.
 
MRS. BRIGGS
Alcohol doesn't count?
 
BOBBY
Everybody uses alcohol.
 
DR. JACOBY
Are you unhappy, Bobby?
 
BOBBY
Shouldn't I be?
 
DR. JACOBY
That's not for me to say.
 
Pause.
 
BOBBY
Have you ever killed anybody?
 
DR. JACOBY
Have you?
 
BOBBY
My Father has.
 
MAJOR BRIGGS
During wartime.
 
MRS. BRIGGS
That's different.
 
BOBBY
Different from what?
 
DR. JACOBY
Perhaps I should spend a few minutes with Robert alone.
 
MAJOR BRIGGS
This is supposed to be family counseling.
 
DR. JACOBY
And I'll need to spend some time alone with every member of the family. 
Bobby first.
 
MAJOR BRIGGS
Fair enough.
 
MRS. BRIGGS
Whatever you think best, Doctor.
 
The Major and the Missus get up and leave the room.
 
DR. JACOBY
Bobby, let's cut the crap.
(Bobby looks at him)
Do you feel that your parents don't understand what
you're going through?
 
BOBBY
That's a good one.
 
DR. JACOBY
Let's talk about Laura.
 
BOBBY
Okay. Let's talk about Laura.
 
DR. JACOBY
(knows some secrets here)
What happened the first time you and Laura made love?
 
BOBBY
What the hell kind of question is that?
 
DR. JACOBY
Bobby ... did you cry?
 
BOBBY
(stunned; This is True)
Did I what?
 
DR. JACOBY
(also true)
What did Laura do then? 
Did she laugh at you?
 
Bobby's completely throw off his guard. Jacoby moves in.
 
DR. JACOBY
Were you sad when Laura died?
 
BOBBY
Laura wanted to die.
 
DR. JACOBY
How do you know that?
 
BOBBY
(rising emotion)
Because she told me.

DR. JACOBY
What else did she tell you?
(silence)
Did she tell you there was no goodness in the world?
 
BOBBY
She said people tried to be good but they were really
sick and rotten, her most of all, and the harder she tried to be good the more rotten she felt because it didn't mean anything, because every time she tried to help the world be a better place something terrible came up inside her and pulled her back down into hell, it took her deeper and deeper into the blackest nightmare and every time it got harder to go back up to the light.
 
Pause.
 
DR. JACOBY
(on the case)
Did you sometimes have the feeling that Laura was
harboring some awful secret?
 
BOBBY
Yes.
 
DR. JACOBY
Bad enough that she wanted to die because of it?
 
BOBBY
Yes.
 
DR. JACOBY
Bad enough that it drove her to consciously try to find
people's weaknesses and prey on them, tempt them,
break them down, make them do terrible, degrading
things?
 
BOBBY
(shocked and frightened)
Yes.
 
DR. JACOBY
Laura wanted to corrupt people, because that's how she
felt about herself -
 
BOBBY
(near tears)
Yes.

Pause.
 
DR. JACOBY
Is that what happened to you, Bobby?
 
Bobby dissolves into tears.
 
DR. JACOBY (CONTINUED)
(gently)
Is that what Laura did to you?
 
BOBBY
Yes. She made me ... she wanted ... so much ... she made
me sell drugs so she could have them ... she made me ...
 
Bobby can't continue, buries his face in his hands. Jacoby has had something essential confirmed. He rises, pats Bobby sympathetically on the shoulder, offers him the bowl of ...
 
DR. JACOBY (CONTINUED)
Malted milk ball?
 
Bobby shakes his head. 
Jacoby pops one in his mouth and chews, thinking.
 
CUT TO:
23. EXT. WOODS - DAY
 
A dense, dark forest.
CUT TO:
24. EXT. WOODS - DAY
 
A number of police cars parked in a clearing, the jumping off place for a search party.
Cooper, Truman, Hawk and Doc Hayward. They're preparing to go off into the woods, when
Andy speeds up in his patrol car and gets out.
 
ANDY
(excited)
Sheriff, Leo Johnson's been gone two days, his wife
hasn't seen him -
 
TRUMAN
Okay, Andy --
 
ANDY
But the thing is, I looked into the kitchen? She was
having breakfast and the table was set for two.

COOPER
Good work, Andy. You keep those eyes peeled.

 
Andy beams with pride.
 
TRUMAN
Andy, I want you to stay with the cars.
(Andy's disappointed)
I need someone to stay near the radio. We'll keep in
touch on the walkies.
 
Andy nods and starts back to the cars.
 
TRUMAN
Hawk, lead the way.
 
Hawk tunes up his sensory apparatus, nods, starts into the woods. Cooper and Truman look at
each other. Cooper nods.
 
TRUMAN (CONTINUED)
Doc, you sure you're up for this?
 
HAYWARD
In for a penny, in for a pound, Harry.
 
TRUMAN
That's the spirit.
 
They follow Hawk into the woods.
DISSOLVE TO:
25. EXT. WOODS - DAY
 
A dark, dark grove. The air still and moist. 
A solitary mournful bird call. Hawk stops, listens, examines the ground, finds something that leads him on. Cooper, Truman and Hayward follow.

CUT TO:
26. EXT. LOG LADYS CABIN - DAY
 
Hawk turns a corner and comes upon a simple, solidly constructed log cabin in a clearing. 

It is not the cabin we saw in the photograph in Jacques' apartment. 

Smoke rises from the chimney.

The others join Hawk in the clearing.
 
COOPER
Not the one we're looking for.
 
HAWK
Maybe, maybe not.
 
TRUMAN
You might want to hang back a step, Doc.
 
HAYWARD
(winded) 
Might want to anyway.

As a precaution, Hawk and Truman draw weapons and along with Cooper start to advance. 

As they round the corner of the cabin, they come face to face with the LOG LADY, carrying a log.

TRUMAN
Hello.

LOG LADY
About time you got here.
(to herself)
They move so slowly when they're not afraid.
 
She goes right inside the cabin. Pause. They look at each other. The Log Lady appears in the doorway again.
 
LOG LADY (CONTINUED)
Come on then. 
My log does not judge, 
it only records.
 
She disappears again. They look at each other. Cooper nods. Truman calls back.
 
TRUMAN
Doc?
CUT TO:

27. INT. LOG LADY'S CABIN - DAY

Truman, Cooper, Hawk and then Doc enter. 
One large room. Simple kitchen, a bed in the corner. 
Table with six chairs, six places with a log-motif tea setting. A boarded up fireplace.
Fire extinguishers and a bucket of water in each corner. 
An axe, a saw and other woodcutting tools. Framed picture of a lumberjack, on the mantle, beside a funereal urn, with ashes. 
Log Lady goes to the kitchen, where she's preparing tea.

LOG LADY
I've got tea. I've got cookies. No cake.

COOPER
That's very kind of you, but I don't know if we have
time to --
 
Hawk signals him to accept the invitation, then takes the lead and sits at the table.
 
HAWK
What kind of cookies?
 
LOG LADY
Sugar. The owls won't see us in here.
 
Hayward sits at the table beside Hawk.


HAYWARD
Some tea would be very nice.

LOG LADY
(to Truman and Cooper, annoyed)
Shut your eyes and you will burst into flames.
 
TRUMAN
Thank you.

 
COOPER
Thank you very much.
 
Truman and Cooper sit. The Log Lady sets down a plate of cookies on the table, along with a log-motif tea pot, then she takes a seat.
 
LOG LADY
We'll let it steep.
 
Pause. Cooper reaches for a cookie. 
Log Lady lightly slaps his hand.
 
LOG LADY (CONTINUED)
Wait for the tea. 
The fish aren't running.

Cooper. looks around, noticing all the firefighting equipment. She looks at him, as if to say,
"Don't laugh. I see everything and it takes it's toll." 
Pause.
 
COOPER
Do you use fire for cooking then?
 
LOG LADY
I go to great lengths to keep it under control.
 
TRUMAN
M'am, were you expecting us?
 
LOG LADY
You're two days late. 
Clues may be as cold as the tea
but that's your concern.
(pause)
My log saw something, something significant. 
There's no closer relationship than the logger with the tree.
 
Pause. Cooper looks at Truman

TRUMAN
M'am, what did your log see?
 
LOG LADY
(shakes her head)
Drink first and be ready for The Truth..

She checks the pot, decides it's ready and starts to pour. 
Six cups. Formal manners.

COOPER
(passing the plate around)
Lime, Harry?
 
LOG LADY
My husband was a logging man.
 
COOPER
Oh?
 
LOG LADY
He met The Devil. 
The Devil took the form of Fire. 
Fire is The Devil hiding like A Coward in The Smoke.

HAYWARD
(he knows her)
The day after the wedding, wasn't it Margaret?
 
She looks away. 

HAWK
(to the Log Lady, comforting)
The Wood holds many spirits, doesn't it Margaret?
 
She nods. Pause. They nibble on cookies and drink their tea. The Log Lady turns to Cooper.
 
LOG LADY
You can ask it now.
 
COOPER
(to the log; solemnly, respectfully)
What did you see that night? 
The night Laura Palmer, was killed?
 
LOG LADY
(pause to the log)
Shhhh. Let me do the talking.
(she doses her eyes; this is hard for her)
Dark. Laughing. The Owls were flying. 
Many things were blocked. Laughing. 
Two men. Two girls.
Flashlights, in the woods, pass by, over the ridge. 
The owls were near. The Dark was pressing in on her ...
(calmer)
Quiet then. A gentle wind. 
Footsteps, later, one man pass by. 
All quiet. Screams, far away. Terrible.
Terrible. One voice ...


COOPER
(quietly)
Man or girl?
 
LOG LADY
Girl.... Further up. Over the ridge 
The owls were silent.

She opens her eyes, blinks. Takes a sip of tea. Hayward dries the tears in his eyes.
 
CUT TO:
28. EXT. WOODS DAY
 
A light mist falls. Hawk, Truman, Cooper and Hayward make their way up the ridge through thick woods.
 
COOPER
The two girls are Laura and Ronette.
 
TRUMAN
The two men Jacques, maybe Leo?
 
COOPER
Maybe.
 
TRUMAN
Who's The Third Man?

A. : Harry Lime.
 
Hawk stops suddenly, gestures them to be quiet. He listens.
 
HAWK
Do you hear it?
 
They listen.. Far away ... music. An angelic voice, soft chords.
 
HAWK (CONTINUED)
This way.
 
They continue on.
 
Hawk, Truman, Cooper and Hayward emerge from a thick stand into a clearing; on a rocky point above them stands the log cabin seen in the photo at Jacques; apartment. 

Rundown, not well maintained. Red drapes are visible in a window. Cooper looks at the photo. 

It was shot from the angle they're viewing it from now.
 
The music issues from inside the cabin. The song ends. Pause. The same song begins again.
 
Truman draws his weapon and takes the lead. Hawk and Cooper draw their weapons and follow. 

Hayward sits on a rock and wipes his brow with a handkerchief.
 
CUT TO:
30. INT. SECOND CABIN - DAY
 
The door creaks open, throwing the only light into the dark room. 
Truman, Hawk and Cooper cautiously enter. The music is louder. Cooper draws aside a set of the heavy, dusty red
drapes, letting more light into the room.
 
On a simple record player, the tone arm pulled back over a 45 record, the song ends again, the stylus lifts, returns to the outside, then back onto the outside edge of the record. Scratches, pops, then the song starts again.
 
COOPER
(under his breath)
... and there's always music in the air..."
 
Cooper lifts the stylus off the record. All three men proceed with extreme care, trying not to move or disturb anything.
 
The single room is dusty, trashy, a low-rent version of a harem room: an overstuffed davenport, cheap oriental throw rugs, tasseled satin pillows, empty bottles and full ashtrays.
 
On a tripod, a 35 millimeter camera, facing a small photo bay created by the drapes and pillows. Hawk checks it out.
 
HAWK
There's film in here.
 
Hawk takes out an evidence bag, removes the film.
 
Cooper finds a spool of twine lying on the floor
 
Another tripod shaped object, covered with a cloth. Truman slowly draws the cloth off ... 
mynah bird in the cage reacts drowsily, weak from hunger and thirst. 
A nameplate on the cage reads ... "O"
 
Hawk draws their attention to dark stains on the wood and one of the throw rugs. He examines it.
 
HAWK
Blood.
 
Cooper moves to look at it
 
Truman, backing up from the cage, hits a rocking chair which rocks forward and hits a table, knocking over a lamp ...
 
Hawk, looking past Cooper, sees The Lamp ...
 
HAWK
Watch out.

Cooper avoids the lamp as it crashes to the floor. Something skitters off the lamp and rolls under the davenport Hawk and Cooper look at each other. Cooper reaches in under the
davenport, feels around, finds something. He pulls it out

INTERCUT:
31. A POKER CHIP
 
A thousand dollar chip, with a small chunk missing. It reads: "ONE-EYED (J)ACK'S"
 
Cooper and Hawk look at each other.
 

Marvin and Gods Last Message





Monday, 28 June 2021

Salvation


Friends, and Money —
Oil and Water.

Don Michael Corleone

NOAH :
Fire consumes All.
Water Cleanses.

It separates 
The Foul from The Pure.
The Wicked from The Innocent.
and 
That Which Sinks from That Which Rises.

He Destroys All,
but only to start again.

METHUSELAH :
You Sure?

NOAH :
Yes.

The Storm cannot be stopped.
But it can be survived.



Bruce, eh?

Fuck. 

Or would you like me to call you by your little brother's name, Davie, yes?

What? 

Baby brothers, Bruce. 
Such a nuisance. 
But you were supposed to look out for little brother Davie, yes


No, no, I wasn't. 

It was your idea to steal the coal though, yes

No, that was Davie's idea. 


The added incentive of trying to please Your Father — 
"Let's climb the coal mountain," you said. 

That's it. Just little boys playing games, Doctor. 

The Games, Bruce, 
The Games. 

The same rules apply, though. 

"I'm the king of the castle! 
Get down, you dirty rascal!"
Then you pushed him off.


No, I never. No, I fucking never!

Not an angry push...

No, I didn't. 

...just a brotherly shove. 

Brotherly love, 
a brotherly shove. 

Because wee Davie was better at everything than his Big Brother, 
"The Other Laddie." 

That's what they used to say in The Village: 
"Davie Robertson 
and the other laddie." 

You're still just 
"the other laddie," 
aren't you?

You fuck off!

"Fuck off," you shout, 
as you push him down the slag pile. 

He's at The Bottom, screaming for help
as the black stuff rushes down, 
smothering Your Brother underneath.

No, I tried to save him.

Then The Man You Call Father
crouching beside the body of His real Son, 
"This thing killed him. 
This bastard spawn of The Devil killed my laddie!”

You are 
FILTH!


No! No!


Again, all that feels to me like the last ferocious attempts at asserting its fading power by the Osiris energy of the last 2000 years, now gone rotten and unsustainable but trying harder to keep everything and everybody under increasingly deranged levels of control in every area of our lives.



Q.) :
What Do You Think is Wrong, Fireman?

A.) : 
Excuse Me, Sir, 
But The Fact is, 
The Coal is Wrong -- 

We're had a poor lot lately, 
and this time it's worse.

With Welsh Coal, 
he'd be A Different Engine.

Henry's Special Coal (RS)





"There really are 
Four Quarters of a Whole. 

And I think that maybe threw some people 
at the beginning of last season, 
and even at the end of last season. 

But I think that you see, as you have seen, 
that they were puzzle pieces, 
Four Puzzle Pieces to A Circle. 

I wanted to tell Mulder's Story — Mulder's Struggle. 
I wanted to tell Scully's Struggle. 
I wanted to tell The Cigarette Smoking Man's Struggle, 
and I wanted to tell William's Struggle. 

For me, The Four Characters 
who are central to The Mythology.