No. Not Even THEY Want to Claim Nixon.

SCENE 4 

X-FILES OFFICE; 

FBI HEADQUARTERS 

WASHINGTON, D.C.

Mulder shows Scully a slide of Gary's back 

with the words clearly written on it.

" HE IS ONE "

MULDER: 

Gary Kane, 16 years old, High School Junior. 

"C" student, first-string varsity football, 

member of the local 4-H club. 

Not one of Wisconsin's more remarkable kids 

but still the apple of his mother's eye.

SCULLY: 

What does that mean?

MULDER: 

Nobody knows.

SCULLY: 

What does The Police report say?

Scully walks over to Mulder and sits on the desk next to him as he shows her the file.

MULDER: 

The victim received a phone call and left his home. 

He was discovered in the woods in his underwear twelve hours later. 

He's been unable to give a coherent statement.

SCULLY: 

Any evidence of sexual assault?

MULDER: 

No.

SCULLY: 

Does it seem like it might have been a schoolboy prank?

MULDER: 

The other victims have had to be sedated and hospitalized since their ordeals. 

They were reportedly hysterical with fear.

(He stands up.)

SCULLY: 

Victims? You mean there've been others?

(Mulder nods and switches the slide to another person with the same writing.)

MULDER: 

One in eastern Wisconsin, one three towns away.

(He flips to another slide, then another.)

Both with the same black words written in black magic marker.

SCULLY: 

What's your interest in this?

MULDER: 

The local sheriff in Delta Glen, Wisconsin thinks he knows what's been happening to these kids.

SCULLY: 

What's that?

MULDER: 

He thinks they've been possessed.

SCENE 5 

DELTA GLEN, WISCONSIN

Mulder, Scully and Sheriff Mazeroski drive down a road in the sheriff's car. 

Mulder is in the back seat.)

MAZEROSKI: 

There's something I think you ought to see first. 

They call themselves the Church of the Red Museum. 

They're followers of a guy named Odin that moved out here from California three years ago and bought a ranch.

SCULLY: 

What's the significance of the name "Red Museum?"

MAZEROSKI: 

Well, Odin and the rest of them are a bunch of vegetarians. 

They drove the ranch right into the ground, 

turned 500 head of beef cattle into pets. 

Calls it a monument to barbarism.

MULDER: 

Probably went over big with the local ranchers.

(Mazeroski laughs.)

MAZEROSKI: 

Well, you gotta admit, it takes some big ones to set down in the middle of cow country and start a church like his.

SCENE 6 

CHURCH OF THE RED MUSEUM 

DELTA GLEN, WISCONSIN

They pull up to the church as three worshippers walk by and towards a barn. They are dressed in white except for a red turban. Mulder, Scully and Mazeroski get out of the car and watch them. Mulder takes out an umbrella and holds it over his and Scully's head.

MAZEROSKI: 

Kinda stick out like a sore thumb, don't they?

SCULLY: 

You know sheriff, from what little we've seen, what, what little you've told us, they seem rather unlikely to be involved in the kind of activities that you described.

MAZEROSKI: 

Well, I, I won't say another word. 

You can just see for yourself.

(They walk into the barn and stand in the back. In front of them is a whole congregation of fifty or so people, with a giant viewscreen in the front of the room. A man gets up onto the platform in front, puts his hand together and bows lightly.)

CONGREGATION: 

Ommm...

MAZEROSKI: 

That's Odin.

Odin sits down at a computer and starts typing rapidly. A woman in back of him reads off the screen into a microphone as the words come up on the screen in back of her.

WOMAN: 

Today is a blessing from our lord and master, who awaits his flock in this time, the dawning of the Age of Aquarius. 

Eighteen earth years from the beginning of the new kingdom. 

The guides speak through me today as messengers of word that we may be free from death and the passage into spirit. 

As the acceleration continues, we, the enlightened, must bring our teachings of the skills for survival to mankind. 

Repeat in prayer...

MULDER: 

They're walk-ins.

SCULLY: 

What are walk-ins?

WOMAN: 

We, the second souls of the first bodies...

CONGREGATION: 

We, the second souls of the first bodies...

WOMAN: 

Bearers of the word and keepers of the sacraments of a new enlightenment...

MULDER: 

They're believers in soul transference, 

enlightened spirits who have taken possession of other peoples bodies.

CONGREGATION: 

Bearers of the word and keepers of the sacraments of a new enlightenment...

WOMAN: 

Blessed mission and toil.

CONGREGATION: 

Blessed mission and toil.

WOMAN: 

Our struggle is transcendent, and your guidance, our guides...

CONGREGATION: 

Our struggle is transcendent, and your guidance, our guides...

Odin finishes typing and looks to the back of the room at the three visitors.

WOMAN: 

...will carry us toward the dawning of a new age.

CONGREGATION: 

...will carry us toward the dawning of a new age.

(Odin starts typing again.)

WOMAN: 

Today, we bear witness to three who do not believe.

The congregation, one by one, slowly turn and look back at the agents.

We encourage them to open their hearts and minds to our teachings that they who slaughter the flesh slaughter their own souls and must be taught the way.

Mulder looks at Mazeroski.

SCENE 7 

BETH KANE'S HOUSE

(Gary and Beth are sitting down. Mazeroski is as well, but Mulder and Scully are standing.)

GARY KANE: 

I only remember parts of it.

MULDER: 

Which parts are those?

GARY KANE: 

I was in the woods and... I felt... a spirit enter me.

(Mulder walks over and sits down next to him.)

MULDER: 

When you say spirit, Gary, 

I'm not sure what you mean.

GARY KANE: 

It... it might have been an animal spirit. 

I can't explain it. Something... just came over me.

MULDER: 

And you don't remember who called you?

(Gary shakes his head no. Scully, standing in the doorway, looks back down the hallway.)

Anything at all about what happened immediately after you left home that night?

(

Scully walks down the hallway, looking at various pictures.)

Have you ever had any dealings with anyone from the Church of the Red Museum?

GARY KANE: I've seen them around.

MULDER: Do you have any reason to believe that they may be involved with what happened to you?

(The pictures are of Beth, Gary, Stevie and the whole family.)

MAZEROSKI: Now tell him what you told me, Gary.

(Gary talks in the background. Stevie walks up to Scully.)

SCULLY: Hi.

STEVIE KANE: Hi.

SCULLY: Who are you?

STEVIE KANE: Stevie.

SCULLY: Oh, you're in all the pictures. You must be Gary's younger brother.

(Stevie nods.)

I'm Dana. Stevie... do you remember who your brother might have gone out to see the other night?

(Stevie shakes his head "no.")

Did he say anything?

Through the peephole in the bathroom mirror, the man watches Scully. 

Scully hears footsteps in that direction and looks towards the mirror, but does not see anything. 

The man is gone from behind it. 

Mulder walks up to Scully.

MULDER: 

Scully, we'll meet you outside.

He and Mazeroski leave. Scully turns back to Stevie.

SCULLY: 

Well, thank you for your time.

Mulder and Mazeroski start down the front steps.

MULDER: 

Has this boy ever been in any trouble?

MAZEROSKI: 

Gary?

MULDER: 

Yeah.

MAZEROSKI: 

No, I've known him since he was a kid. Same age as my son. 

Now, he's done some beer drinking, but he's just your basic sixteen-year-old. Least he was.

MULDER: 

You see a noticeable difference in him?

MAZEROSKI: 

Yeah, yeah. Gary Kane lived for football. He's a damn good athlete too. Now he won't even suit up.

MULDER: 

The Red Museum... 

how are they treated by the local citizens?

Scully walks over.

MAZEROSKI: 

Nobody much cares for them.

MULDER:

Well, are they ever singled out? 

Shop owners refusing to sell to them, stuff like that?

MAZEROSKI: 

Well, there's a reasonable amount of tension 

but most folks are happy to just try to avoid them.

MULDER: 

Uh, can you recommend a good motel in the area?

MAZEROSKI: 

Sure. That means you're going to stay on for a bit. 

You think there might be something to this?

MULDER: 

Well, I, I want to run a background check 

on the church and this guy

MAZEROSKI: 

You've come to the right place for that.

SCENE 8 

CLAY'S BBQ

Scully sits with plates upon plates of food in front of her. 

She has a bib with the store logo on it, and it is covered with sauce. 

She finishes off a rib and puts down the bone, leaving some more sauce on her cheek by her lip. 

Mulder is sitting across from her with a bib on as well.

SCULLY: 

You know, Mulder... ribs like these, 

I'd say the Church of the Red Museum 

has its work cut out for it.

He wipes off the sauce on her face.

Thanks.

So, you started to tell me about walk-ins 

but I'm not sure if I grasped the finer points.

MULDER: 

Well, it, it's kind of a new age religion based on an old idea. 

That if you, uh, 

lose hope or despair 

and 

want to leave this mortal coil, 

you become 

open and vulnerable.

SCULLY: 

To inhabitation by a new spirit.

MULDER: 

A new enlightened spirit. 

According to the literature, 

Abe Lincoln was a walk-in. 

And Mikhail Gorbachev 

and Charles Colson, 

Nixon's advisor.

SCULLY: 

But not Nixon?

MULDER: 

No. Not even they want to claim Nixon.

I Do.

Dick Halloran

Dick Gregory | Uncle Tom Was A Shapeshifter

HALLORAN :

You Like Lamb, Doc?

Danny shakes his head.

HALLORAN :

 You don't? What's your 

favourite food, then?

Danny, Champion 

of The World:

 French fries and ketchup.

[ Ah! A Wise Child! ]

HALLORAN :

(chuckles)

I think we can manage that too, Doc.

 Come along. Watch your step.

WENDY, Darling :

How'd you know we call him 'Doc'?

HALLORAN :

Beg your pardon?

WENDY, Darling :

You called Danny "Doc" twice.

HALLORAN :

I did?

WENDY, Darling :

 We call him 'Doc' sometimes, like 

in the Bugs Bunny cartoons.

 But how did you know?

HALLORAN :

 I guess I must have heard 

you call him that.

WENDY, Darling :

 It's possible. But I don't remember

calling him that since 

we've been with you.

HALLORAN :

 Anyway, he looks like a Doc, don't he?

Nyah! What's up, Doc?

[ That ain't no kind of Answer, Dick, and You know it..!! ]

 Now, this is The Storeroom.....

The Hole

This guy's walking down the street 

when He Falls in A Hole — 

The Walls are so steep, he can't get out.

A Doctor passes by and the guy shouts up,

'Hey you. Can you help me out?' 

The Doctor writes a prescription, 

throws it down in The Hole and moves on.

Then A Priest comes along and the guy shouts up, 

'Father, I'm down in This Hole can you help me out?' 

The Priest writes out a prayer, 

throws it down in the hole and moves on.

Then A Friend walks by, 

'Hey, Joe, it's me can you help me out?' 

And The Friend jumps in The Hole. 

Our guy says,

'Are you STUPID!?

Now we're BOTH down here!

And His Friend says,

'Yeah, but I've been Down Here before,

and I know The Way Out.'

Archangel MIKE :

?…..is it Future

or is it Past….?

Cooper gives him a blank look

DO YOU KNOW WHO I AM?

Cooper, The Zen Buddhist 

gives him another blank look.

Archangel MIKE :

I am The ARM —

and I Sound Like THIS :

• INDIAN WAR-WARBLING •

Agent Cooper :

Where is The Ring?

Archangel MIKE :

Someone Else has it, now.

Agent Cooper :

Where am I….?

…..and How Can I Leave?

Archangel MIKE :

Go Home!

Ben takes The Doctor's ring from Polly.

BEN: 

Now look — 

The Doctor always wore this. 

So if YOU’RE him, 

it should fit NOW, shouldn't it? 

And slips it on the man's finger. 

It's far too big.

BEN: 

There. That settles it. 

The Cosmic Hobo : 

I'd like to see A Butterfly fit into 

a chrysalis case after it's 

spread its wings. 

POLLY: 

Then you DID change! 

The Cosmic Hobo : 

Life depends on Change… Renewal. 

BEN: 

Oh, so THAT’S it — 

You've been ‘renewed’, have you? 

The Cosmic Hobo : 

I've been renewed, have I? 

That's it — I've been RENEWED!

It's Part of The TARDIS. 

Without it, I couldn't Survive. 

Dante went on to marry, and he and Signora Alighieri raised three children. 

Then, suddenly, at the midpoint of his life, he fell into a deep depression. 

His epic poem, Divine Comedy, begins by saying that he was walking along in the afternoon of his life and fell into a deep hole. 

No one has described the midlife crisis any better — You’re going along, things pretty well in hand, and suddenly you fall into A Hole. 

Dante finds himself in the Underworld, and above the portal into what turns out to be Hell is a sign, “Abandon hope, all ye who enter here.” 

Dante proceeds, and encounters Virgil, the poet from ancient Greece, Heaven-sent to guide him through the nine levels of Hell, which is a spiral downward, each level worse than the pre- vious one. In his writing, Dante peoples Hell with his own acquaintances— even a cardinal or two — which got him into trouble. 

Our present idea of Hell comes in part from Dante’s description. Virgil represents The Intellect. The guide for the first part of your inward journey is Your Intellect, the masculine traits of intelligence, proportion, and good sense. 

The lowest level of Hell is The Worst. It is FROZEN. 

To reach the coldness of life — Loneliness and Meaninglessness — is the worst experience a human being goes through, worse than the fiery aspects of Hell. Under the guidance of Virgil, Dante gets to the bottom of Hell and just keeps going. 

You don’t come out of Hell through The door you entered. You go through it and out the other side. On the other side of Hell lies Heaven.

Dante and Virgil are in the middle of the world, which is where the Devil lives. And Dante gets through that nodal point, the point of zero gravity at The Center of The World, by shimmying down the hairy leg of The Devil, and finds himself in Purgatory. 

Hell lays out what’s wrong — the hellish dimensions of life — and Purgatory begins The Repair, what you need in order to be restored. You need to be treated. The verb to treat comes from the Latin tmctus, front tractre, “ to pull or drag.” 

The earliest therapists had a series of stones with increasingly smaller holes in them, and you were literally pulled through — the biggest one first, a smaller one next, until you couldn’t be pulled through any more. You came out of this experience minus a bit of skin, but you were treated. 

Dante is pulled through a hole from the center of the world and begins his ascent through Purgatory, its many levels and teachings. 

The Shining

It’s a Fortress of Solitude.

HALLORAN :

 It won't take you long to get the hang of it.

WENDY, Darling :

 This is The Kitchen, huh?

HALLORAN :

 This is it.

 How do you like it, Danny? 

Is it big enough for you?

DANNY, Champion of The World :

 It's the biggest place I ever seen.

[ Didn't answer The Question. ]

WENDY, Darling :

 This whole place is such 

an enormous maze --

 I feel as though I'll have to leave 

a trail of breadcrumbs 

every time I come in.

HALLORAN :

 Don't let it get you down.

 lt's BIG, but it ain't nothing 

but A Kitchen.

 A lot of this stuff you'll 

never have to touch.

WENDY, Darling :
I wouldn't know what to do with it if I did.

HALLORAN :

 One thing for sure, you don't have to worry about Food.

 You could eat here for a year and never 

have the same menu twice.

 Right here is our walk-in freezer.

 This is where we keep

all of Our Meat.

 You got rib roasts

ten-pound bags of hamburger.

 We got turkeys, 

we got chickens

sirloin steaks, 

two dozen pork roast

and legs of Lamb. 

You Like Lamb, Doc?

Dan shakes his head.

HALLORAN :

 You don't? What's your 

favourite food, then?

DANNY, Champion of The World :

 French fries and ketchup.

[ Ah! A Wise Child! ]

HALLORAN :

I think we can manage that too, Doc.

 Come along. Watch your step.

WENDY, Darling :

How'd you know we call him 'Doc'?

HALLORAN :

Beg your pardon?

WENDY, Darling :

You called Danny "Doc" twice.

HALLORAN :

I did?

WENDY, Darling :

 We call him 'Doc' sometimes, like 

in the Bugs Bunny cartoons.

 But how did you know?

HALLORAN :

 I guess I must have heard 

you call him that.

WENDY, Darling :

 It's possible. But I don't remember

calling him that since 

we've been with you.

HALLORAN :

 Anyway, he looks like a Doc, don't he?

Nyah! What's up, Doc?

[ That ain't no kind of Answer, Dick, and You know it..!! ]

 Now, this is The Storeroom.....

 In here is where we keep all the dried goods and the canned goods.

 We got canned fruits and vegetables. . .

 . . .canned fish and meats, hot and cold cereals.

 Post Toasties, Corn Flakes, Sugar Puffs. . .

 . . .Rice Krispies, oatmeal, Wheatena and Cream of Wheat.

 You got a dozen jugs of black molasses.

 We got boxes of dried milk. . .

 How'd you like some ice cream, Doc?

 . . .Sociables, finger rolls. . .

 . . .and kinds of what have you.

 We've got dried peaches, dried apricots. . .

 . . .dried raisins and dried prunes.

 You know, you got to keep regular if you want to be happy.

 -How're you getting on? -Fine.

 Can we borrow Mrs. Torrance? We're on our way to the basement.

 l promise we won't keep her very long.

HALLORAN

 No problem. I was just getting to the ice cream.

 You like ice cream, Doc?

 I thought so.

 You mind if I give Danny some ice cream?

 -Not at all. -We don't mind.

 -Good. -Sound good to you, Doc?

 Okay, you behave yourself.

HALLORAN

 What kind of ice cream do you like?

DANNY, Champion of The World :

 Chocolate.

HALLORAN

 Chocolate it shall be. 

Come on, Son.

 lt's amazing, all this activity today.

 The guests and some staff left yesterday, but the. . .

 . . .last day's always hectic.

 Everybody wants to be on their way as early as possible.

 By tonight, you'll never know anybody was ever here.

 Just like a ghost ship, huh?

 Do you know how I knew 

your name was Doc?

 You know what I'm talking about, don't you?

 I can remember when I was a little boy

my grandmother and I could hold conversations. . .

entirely without ever opening our mouths.

 She called it "Shining. "

 And for a long time I thought it was just 

the two of us that had "The Shine" to us.

 Like you probably thought 

you was the only one.

 But there are other folks. . .

though mostly 

they don't know it, 

or don't believe it.

 How long have you been able to do it?

 Why don't you want to talk about it?

DANNY, Champion of The World :

 I'm not supposed to.

 Who says you ain't supposed to?

DANNY, Champion of The World :

 Tony.

 Who's Tony?

DANNY, Champion of The World :

 Tony's the little boy 

that lives in my mouth.

 Is Tony the one that tells you things?

 How does he tell you things?

DANNY, Champion of The World :

 It's like I go to sleep 

and he shows me things.

 But when I wake up, 

I can't remember everything.

 Does your mom and dad know about Tony?

 Do they know he tells you things?

 Tony told me never to tell them.

 Has Tony ever told you anything about this place?

 About the Overlook Hotel?

 I don't know.

 Now think real hard, Doc.

 Think.

DANNY, Champion of The World :

 Is there something bad here?

 You know, Doc, when something happens. . . 

it can leave a trace of itself behind.

 Say, like. . . if someone burns toast.

 Maybe things that happen leave other kind of traces behind.

 Not things that anyone can notice.

 But things that people who shine can see.

 Just like they can see things that haven't happened yet. . .

sometimes they can see things that happened a long time ago.

 I think a lot of things happened right here 

in this particular hotel over the years.

 And not all of them was Good.

DANNY, Champion of The World :

 What about Room 237?

 Room 237?

DANNY, Champion of The World :

 You're scared of Room 237 ain't you?

 No, I ain't.

DANNY, Champion of The World :

 Mr. Hallorann, 

What is in Room 237?

 Nothing.

 There ain't nothing in Room 237.

 But you ain't got no business going in there anyway.

 So stay out.

 You understand? Stay out!

 Good morning, hon.

 Your breakfast is ready.

 What time is it?

 lt's about  : .

 Jesus!

 I guess we've been staying up too late.

 I know it.

 I made them just the way you like them, sunny-side up.

 Nice.

 It's really pretty outside.

 How about taking me for a walk after you finish your breakfast?

 I suppose I ought to try to do some writing first.

 Any ideas yet?

 Lots of ideas.

 No good ones.

 Something will come.

 It's just a matter of settling into 

the habit of writing every day.

 That's all it is.

All right.

And you're going to lose.

 And l'm going to get you. 

You'd better run fast!

 Look out!

 I'm coming in close.

 Loser has to keep America clean.

 Keep America clean.

 Danny, you win.

 Let's take the rest of this walking.

 Give me your hand.

Isn't it beautiful?

 Dead end.

 We made it.

 Isn't it beautiful?

 It's so pretty.

 I didn't think it was this big. 

Did you?

 Hi, hon.

 How's it going?

 Fine.

 Get a lot written today?

 The weather forecast said it's going to snow tonight.

 What The Fuck do you want me to do about it?

 Come on, hon.

 Don't be so grouchy.

 I'm not. . . being grouchy.

 I just want to finish my work.

 Okay. I understand.

 I'll come back later with a couple of sandwiches.

 Maybe you'll let me read something then.

 Wendy. . .

let me explain something to you.

 When you come in and interrupt, you're breaking my concentration.

 You're distracting me

and it will then take time to get back to where I was.

 Understand?

 Fine.

 We're making a new rule:

 Whenever I'm in here

and you hear me typing,

or whatever the fuck you hear me doing in here

when I'm in here, that means 

I am working.

 That means 

Don't Come In.

 Do you think you can handle that?

 Fine.

 Why don't you start right now 

and get the fuck out of here?

Superman :

I’m just like EVERYBODY ELSE.

Except MY Eyes don’t just 

ABSORB radiation 

like yours do, 

they EMIT all kinds.”

237

“Oh no, now I really 

am in Trouble..!”

The Dark Multiverse is A Shadow 

under the primary Multiverse, one formed of every fear and bad decision ever made or dreamt. 

Worlds in the Dark Multiverse are fragile and constantly deteriorating, 

inevitably doomed to destruction 

by their own malformed construction.

“….While news reached The Courtroom of The High Council's mass resignation, The Master warned The Inquisitor that 

The Valeyard had materialised his TARDIS 

around a Time Vent in The Matrix. 

If The Vent were to be opened for too long, 

there would be catastrophic ramifications 

for the Space-Time continuum. 

The Valeyard - now shown to be 

a pitiable old man afraid of dying - 

planned to use this threat to force 

The Time Lords to give him 

The Doctor's remaining regenerations.

 

The Master revealed that he had 

been hired by the High Council 

to murder The Doctor in 

exchange for A Pardon, 

but he had now decided not 

to follow through 

on His Mission. 

The Doctor bluffed his way 

into The Valeyard's TARDIS 

just as The Valeyard opened 

The Time Vent Door -- 

Struggling, The Doctor and The Valeyard 

plunged into the Time Vent 

while The Master had Glitz seal The Door, 

Saving The Universe but trapping 

The Doctor for all eternity.

Kubrick's TIMEDOORS

“Well, it’s not easy, you know…!”

“It's not as if we know 

what That Thing IS....”

“Well, I'll Tell You -- 

it's a TIME VENT.”

“I see…!”

“Now,

What’s A Vent for, eh?”

“Well, err…”

“…Flushing?”

“Right! So stop dilly-dallying —

and FLUSH it!”

“Then we return to the motif of the shower head,

the impassive eye which has just watched this horrible thing happen.

This shot of the shower head at the beginning of the scene was

one of joy, she was going to get a new start and now that same

water is washing away the evidence of her existence and the murder.

The Water keeps running 

and The Blood flows,

but The Heart is stopping.

It's just such an amazing image 

to see Her Life flowing 

down The Drain.

What a metaphor that is!”

Elijah Wood :

And it switches to The Eye, right?

Oh, come on.

That's so good.

Eli Roth :

“I wonder how long this shot is, how long she had to hold —

To get her eye to stay open?

Just to make sure her eye didn't twitch even a tiny bit.

Oh, my God, that's incredible.

Eli Roth :

The Pointless Spiralling 

of  The Universe 

and the way that 

Everything is ultimately 

drawn down The Plughole 

towards Oblivion,  

towards Meaningless Death.

I think to some extent 

we are looking at 

Hitchcock's fears 

as well as his obsessions.”

“You see it in Barton Fink, you see it 

in so many movies and you're like, 

"Why is he going inside the drain?

Are we going to go inside?"

That is the moment of Psycho where 

Everything Changes.

This was made by an auteur film-maker and that is a very personal stamp.

It's a rupture in the movie

but the movie never achieves this 

kind of poetry again and you begin

to realise that, 

"Oh, this was what really mattered 

most to Hitchcock."

Tomasini has done a clockwise turn optically which then, right about here, hooks back up to the freeze-frame footage.

I'm just amazed they were able to get that clean.

Usually when you do an optical it's pretty grainy but it looks

so smooth and so beautiful.

It's surprising and seamless where they go from live action,

it's like one of the greatest opticals in the history of movies.

It's also kind of like what the title sequence is doing

in Vertigo, it's a theme that runs through this film

and then later on, of course. 

It's not style just for style's sake,

it's got content.

The cameras were huge and very difficult to manipulate.

You can actually see pictures of Hitchcock behind a Mitchell

and you get a sense of what it was like riding on that

carriage behind that huge locomotive of a camera.

Whereas today it's a snap, you just do it like Gus Van Sant.

In the remake he did it all live action.

The pull-back from her eye was 

a whole robotic camera move.

Gus Van Sant's Editor :

I seriously followed the original 

film shot by shot.

I was able to cut it exactly like The Original, 

and we watched it,

and it was weird and 

it didn't work.

I said, "Well, Gus, come over, watch the scene. I have a few reservations of how it's playing right now

and it doesn't feel like The Shower Scene yet."

We went in and tried to make it 

a little more Gus Van Sant-y.

To duplicate something as iconic 

as The Shower Scene,

:: ::

I really think it wasn't going to work.

:: ::

And it just didn't.

:: ::

I always loved the placement of those drops of water cos

:: ::

they're like tears.

:: ::

Right at the end it was a little flicker in her eye,

:: ::

a little highlight in her eye.

:: ::

And you can see her eye move.

:: ::

There's a tight, slight flick of the eye, there.

:: ::

Hitchcock almost fetishistically lingers in this postmortem moment.

:: ::

This is what happens after you die and no-one turns off the water.

:: ::

Hitch had a little snap of the finger to let Janet know

when the camera had past and was going to pan into the room.

It took a lot of takes.

I can feel the moleskin pulling away from my top part and so I could feel this, it was just of going...

SHE SQUEAKS

..and I thought, "You know what?

I don't want to do this damn thing again. 

I really don't want to."

And there are all the guys on the scaffolding and I said,

"I'm not going to be modest. 

Let 'em look."

Q: Why would you cut to the shower there?

A. : I don't think The Reason has anything 

to do with artistic decision. 

It's The Solution to some 

technical problem that he had.

Hitchcock's Granddaughter :

After my grandfather filmed Psycho

and it had been shown to all the executives,

the last person he showed it 

to was my grandmother

and they were sitting in the screening screen,

and he's panning out and she looks 

at my grandfather and says,

"Hitch, you can't release this."

And he said, "Why not?" 

She goes, "Janet Leigh took a breath."

They couldn't reshoot it.

Janet was gone, they didn't have the budget,

so they simply cut back to 

the shower head spewing water."

And then that cynical camera move —

She made her moral decision 

and this is what it got her.

There's an image of 

The Uncaring Universe, 

if you want one.

You see the headline there - "OKAY" 

it is not OK. Nothing is OK.

He always comes back to his MacGuffin which is the —

He throws the newspaper into the quagmire, 

it goes down with the car.

And The Audience says, 

"That's The Money that we thought 

was important in This Story,

it's totally unimportant."

“This is the thing in the movie that always tortured me —

The greatest scene in movie history ends 

on a sour note with a bad ADR line — 

That has been the doom of so many movies.

Here comes Norman.

Just wondering What Happened 

and oh, my, he can't believe it —

‘Another murder at the motel. 

How did that happen?’

It's an extraordinary aftermath, 

it's a crucial piece of the film-making to sort of let the consequence of it actually land —

It's not about getting the blood stains out of the tub,

it's about this incredibly laborious process

that this unbearably damaged soul needs to work through.

It demands not just that we watch 

as we've watched The Murder of Marion Crane, 

we're also voyeurs to 

The Horror of Norman's World.

For me, the clean up represents 

Alfred Hitchcock's Sense of Orderliness, 

sense of 

"I wasn't sexually aroused by this woman, and I'm just going to pretend that this unhappy episode just didn't even occur."

I think that cleaning always represents sexual guilt.

You care about this guy. 

And I know it sounds crazy 

but you do.

You want to know 

what's going to happen to him, 

you want to know

is he going to be free of this 

or is it going to consume him?

The fact that he is able 

to get you to care is one of 

the miracles of the movie.”

(The Doctor runs back for The Screwdriver.)

Perfect-10 : 

Why? Why would I give her 

My Screwdriver? Why would I do that? 

Thing is, Future-Me had years 

to think about it, all those years 

to think of A Way to Save Her, 

and What He Did was 

Give Her a Screwdriver. 

WHY Would I DO That?

(Because it also contains a neural relay, 

which has Two Green Lights on it.)

Perfect-10 : 

Oh! OH! Oh, look at that. 

I'm VERY Good!

DONNA : 

What have you done?

Perfect-10 : 

Saved Her.

[Stacks]

(The Doctor is running as one green light goes out.)

Perfect-10 : 

Stay with me! 

You can do it, stay with me!

Come on, You and Me, 

one last run!

[Reading room]

Perfect-10 : 

Sorry, River, shortcut!

COMPUTER: 

Platform Disabled. 

(The Doctor dives into the gravity well. The last light is blinking.)

[Data core]

RIVER [OC]: 

Everybody knows that Everybody Dies. 

But not every day.

(The Doctor plugs the screwdriver into the core, and her neural energy is transferred.)

RIVER [OC]: 

Not Today.

(Charlotte Node smiles.)

[Hospital grounds]

(River is wearing a loose white robe. Charlotte and Doctor Moon walk up to her.)

GIRL: 

It's okay, you're safe. 

You'll always be safe here. 

The Doctor fixed the data core. 

This is a good place now. 

But I was worried you might be lonely, 

so I brought you some friends. 

Aren't I a clever girl?

Miss EVANGELISTA: 

Aren't we all?

(Anita, the two Daves and Miss Evangelista with her normal face are walking towards her.)

RIVER: 

Oh, for Heaven's Sake. 

He just can't do it, can he? That Man. 

That Impossible Man. 

He just can't give in.

RIVER [OC]: 

Some Days are Special. 

Some Days are so, so Blessed. 

Some Days, nobody dies at all.

(The Doctor returns to the Reception and stares at the Tardis. He snaps his fingers, and the door opens. Donna is waiting inside.)

RIVER [OC]: 

Now and Then, every once 

in a very long while, 

every day in a million days, 

when The Wind stands Fair, 

and The Doctor comes to call --

(He snaps his fingers again and the door closes.)

[Children's bedroom]

(River closes her diary.)

RIVER: 

Everybody Lives.

(She kisses Charlotte goodnight and looks at Ella and Joshua.)

RIVER: 

Sweet Dreams, everyone.

In the Steve Gerber miniseries The Phantom Zone #1-4 (January–April 1982), it is revealed that the Zone not only has a breach through which other inmates had escaped, but that they were never heard from again. The imprisoned Superman and Quex-Ul use this method and travel through several dimensional “layers” seeking the exit into the physical universe. They finally encounter a Kryptonian wizard named Thul-Kar, who tells them that he believed Jor-El’s prophecy of Krypton’s doom and entered the Phantom Zone through magic. Using the same breach, he discovered the truth about the Phantom Zone: all its levels are manifestations of the consciousness of a sentient, malevolent entity called Aethyr, The Oversoul.

As explained by Thul-Kar, Aethyr itself came into being uncounted millennia ago when two spiral galaxies collided at an almost primordial stage after the physical universe’s creation. Countless worlds were simultaneously destroyed and the deaths of so many beings merged somehow to form a single, evil consciousness that called itself Aethyr The Oversoul. This supremely powerful entity enclosed itself into a dimension outside the physical universe within itself, forming the Phantom Zone.

The Zone itself is an interface between the Earth-One dimension (the physical universe) and Aethyr’s mind, the outer layer (where zone criminals are housed) representing its ability for abstract thought; the Zone is basically Aethyr’s capacity to imagine other possibilities of existence, and is the outermost template of its consciousness. Only by entering Aethyr’s core realm can a zone prisoner escape back to the physical universe, but this process is dangerous since any being who tries risks being destroyed in numerous ways as well as by forever having their souls merged with Aethyr’s essence while within Aethyr’s core realm. This is because as you enter deeper into Aethyr’s consciousness, you no longer exist as an abstract entity and your existence becomes subject to Aethyr’s whims. When attacking Superman and Quex-Ul, Aethyr personified itself as an aggressive, purple-skinned dog’s head that breathed flames capable of destroying and absorbing the souls of those that it wishes to conquer. While Quex-Ul is killed by Aethyr in this fashion, Superman manages to make his way out of the Phantom Zone by avoiding those flames and flying directly through Aethyr’s skull and its mind, returning to Earth through a tear in the fabric of Aethyr’s mind and the physical universe, but not without encountering the horrific remains of all of the souls entrapped within Aethyr over the millennia.

Mister Mxyzptlk is later possessed by Aethyr. During the process while Myyzptlk is imprisoned on his own home dimension, Thul-Kar communicates with Mxyzptlk and offers him an escape in exchange for the merger. This merger, however, empties the Phantom Zone of its criminal inhabitants. As the Phantom Zone villains head to Earth to conquer it, Thul-Kar and Nam-Ek are re-absorbed into Aethyr. Superman awakes and sees that the Phantom Zone villains are wreaking havoc on Earth, causing destruction to the Capitol Building in Washington, D.C. and demanding Superman come out and fight them. Superman battles the Phantom Zone villains in Washington D.C. While fighting Faora Hu-Ul, he witnesses her disappearing as she is absorbed into Aethyr. Mister Mxyzpltk reveals that his strong personality has taken over Aethyr and he absorbs all the rest of the Phantom Zone inhabitants back into himself, determined to torture them endlessly and wreak havoc as he sees fit. Mxyzpltk-Aethyr leaves, intending to next take over the Fifth Dimension, and Superman is left to put out the fires in Washington and then rid Metropolis of the Kryptonite remains of Argo City.

Main LOKI : 

[SHOUTING] 

No! This way! 

Come and get me! 

 

[DRAGON ROARING]

 

CLASSIC, UGLY LOKI :

No! No!

[UPLIFTING MUSIC PLAYING] 

RIDE OF THE VALKYRIES

[GRUNTING] 

He resurrects [An Image of] 

Lost and Fabled Asgard, 

in The Heart of The Phantom Zone 

using only His Magicks 

LADY LOKI :

How is he doing that?

Main LOKI : 

I think we're Stronger than we realise.

CLASSIC, UGLY LOKI :

[GRUNTING] 

Go! 

[ECHOING] 

What are you doing? 

SYLVIE: 

We're gonna enchant it. 

Main LOKI: 

I don't know how. 

SYLVIE: 

You do. Because We're The Same! 

[ROARS] 

[BOTH GRUNT] 

[GRUNTING] 

[DRAMATIC MUSIC CONTINUES] 

CLASSIC, UGLY LOKI :

[GRUNTS WEAKLY] 

Glorious Purpose! 

[LAUGHING] 

[EXHALES] 

Open your eyes.

"Once Denny enters Room 237, like, that's... that kind of is, like, the activation of the rest of the movie. 

Like, that's what causes Jack to go insane finally. 

That's what brings Hallorann to The Hotel. 

Like, The Room 237 is, like, is sort of this... 

I mean, I compare it to the mysterious hotel room at the end of 2001, 

where there's... 

It's this strange, strange place that somehow, like, transforms the rest of the narrative. 

The Shining takes place on the top of a mountain in kind of like a, you know, magical shape-shifting environment. 

And, like, travel is... traveling out of it is... 

You know, instead of 2001, where you're Traveling to Something, 

The Point of The Shining is to Escape, 

is to travel out. 

And Room 237 is, like... it's kind of like 

The Escape Pod of The Hotel.

You're, like, in this LOOP. 

But, you know, there ARE escape routes, 

like the... like, 

I think he puts escape routes into it, 

into This Maze, into This Trap. 

I mean, there are ways out of it. 

And Danny finds a way out of it, you know, 

by retracing his steps, by going backwards and forwards. 

And once you start, you know, studying, you know, synchronicity and symbolism, then, like, suddenly, like, you're noticing in Your Own Life, like, things start popping out. 

Things that you hadn't noticed before, 

Your Point of View is being altered 

by Your Study. 

It's Quantum Physics, you know, like, 

The Act of Observing, 

affects The Thing Observed.

And, of course, Vice-Versa.