Act 3 Scene 1
Vicky Clarke's house. The lights are all out, it is nearly 1 am in the morning.
Suddenly there is the sound of sobs and swiftly moving footsteps and Vicky Clarke appears at the front door, she tries the door and finding it locked starts banging wildly on the door.
She is visibly distraught with tears streaming down her cheeks.
Vicky: shouting Mum, mum open the door, quick!
Suddenly a light is turned on upstairs, then after a moment another light in another window upstairs come on, followed by a light downstairs as Helen Clarke makes her way downstairs. The door opens. Vicky steps quickly inside with relief.
Helen Clarke: concerned and surprised Vicky, what's going on? What are you doing out there? becoming angry How did you get out you're supposed to be in bed? You'd better have a damn good explanation for this.
Vicky Clarke: Mum you've got to help me, they've killed June and David Bowie kissed her dead body.
Helen Clarke: Killed June? What are you talking about? David Bowie? Who's killed June? David Bowie kissed her? Helen Clarke gives her daughter a penetrating look Have you been out taking drugs Vicky because if you have you can forget about having any more riding lessons.
Vicky Clarke: No mum, I haven't taken any drugs.
Helen Clarke: Then what on Earth are you doing out of the house at this time of night? She waves Vicky into the living room sit down, you're in big trouble young lady.
Vicky Clarke: distraught and nervous I'm not on drugs mum, I'm serious. It was this weird club suddenly Vicky's mobile phone rings and she panics Mum it's them, they can hear me talking.
Helen Clarke: Don't be silly Vicky. Who have you got ringing you at his time of night? We've got a lot to talk about my girl, you're fifteen years old, you're still a child. You shouldn't be out at midnight and getting phone calls in the middle of the night. Aren't you going to answer that phone?
Vicky Clarke: I'm scared to, I don't know who it is.
Helen Clarke: Enough of this nonsense Vicky I'm starting to lose patience, looks to me like you've been carrying on behind my back up to all sorts. You're grounded Vicky, from now on you're not leaving my sight for a second. Give me that phone, I'm in no mood for games, and if this is some boyfriend of yours then that's your cracker, I can tell you. She takes the phone which says unknown caller and is about to answer when suddenly it stops ringing. Hmm lucky for you.
Vicky Clarke: takes her phone It's a secret club that we wanted to join so we could become witches and the headmaster winks at you but when we got there June was dead and they took Loz away too and at that moment she receives a message, It's them again mum, Vicky nervously checks the message which has an attachment which she opens and it shows a picture of Smiley Mindless posing with a finger over her mouth in a 'shushing' gesture. It's from THEM mum.
Helen Clarke: Who's them Vicky? All you've told me is a crazy story about David Bowie and a winking headmaster. Show me that message! She looks at the picture again and notices the sender. Look, it's from your friend June, you said she was dead! What is this nonsense Vicky? I'm starting to get annoyed.
Vicky Clarke: But it's not really her. Someone else sent it. I saw her, she was dead and covered in blood.
Helen Clarke: Well I'm going to get to the bottom of all this. She presses a button and calls June.
Vicky Clarke: Mum, DON'T. She knocks the phone out her mum's hands.
Helen Clarke: Right! That's it. she calls out Jim! Jim Clarke comes downstairs I can't get any sense out of her, and she's knocked the phone out of my hands. Says David Bowie kissed her friend June who was killed and covered in blood. I think she's been taking some drugs but she says she hasn't. Won't let me find out who's calling her. I'm going to lose my temper in a minute.
Jim Clarke: firmly Call them Vicky, I want to know what this is all about.
Vicky Clarke: But you can't.
Jim Clarke: raises his eyebrows What do you mean 'can't'?
Vicky gives him the phone.
Vicky Clarke: resignedly Press this button to call.
Jim Clarke: Right, let's find out what's been going on shall we? Then we can all go to bed.
He calls the number and waits. After a moment there is an answer.
Jim Clarke: Suavely polite Sorry to disturb you at this time of night, I'm just returning a call, may I ask who I'm speaking to? Uh-uh. Ok. Would it be possible to speak to your parents, it's quite important. Ok thank you. Good evening, sorry to bother you at this time of night, we seem to be having a slight problem here. Can I just pass you onto to my wife for a second, I think she'd like to speak to you.
Helen Clarke: Hello. Oh I see. It's my daughter Vicky, she's just come in saying some incredible stories and I wondered if you knew anything about it, she said something terrible had happened to June. Oh, really, that's very strange. I wonder what made her say that. It is odd. Well I wonder what's been going on. Well if you say so, I'll have to speak to her then, see if we can get to the bottom of this. Ok, so sorry to bother you, looks like I'll need to keep my eye a bit more tightly trained on her from now on. Thanks, bye.
Helen Clarke: stares at Vicki That was June's mother. After a pause and flatly She says June has been with them all night. She's far from dead.
Vicky Clarke: What? But that's not true, we went out to the woods.
Jim Clarke: losing his patience What were you doing out in the woods at this time of night? Have you completely lost your mind!
Vicky Clarke: But I saw her dead on the ground.
Helen Clarke: Yeah, with David Bowie, don't forget that bit.
Vicky Clarke: They're lying. She came with us, it was all her idea, she told us we could join, then she disappeared and the next thing we saw she was dead. She's dead, I saw her.
Jim Clarke: angrily Dead? I've just spoken to her. She didn't sound very dead to me.
Helen Clarke: You'll be dead in a minute Vicky if you don't pack this up.
Jim Clarke: Ok I'm going to see if we can settle this once and for all. He picks up Vicky's phone and redials. Sorry to bother you again, could I speak to your mum again. Thanks. Hello again, look I don' know what's been happening with Vicky or what she's been up to but she still says June is dead. I'm a bit worried something might be wrong. Uhuh. Oh would you mind, oh that would be a great help, I'm so embarrassed I can't believe this, I didn't think being parent would put you in so many embarrassing situations. Ok, see you in soon. Turns to Vicky. Well, June will be here soon so you'll be able to check whether or not she's dead. Is that ok with you Vicky?
Act 3 Scene 2
Vicky Clarke's parents' house. It is now somewhat near two in the morning. Mr John and Mrs Wendy Vale and their daughter June are standing in the hallway while Helen Clarke has a quiet chat with June's father.
Helen Clarke: I'm so sorry to drag you here in the middle of the night. To be honest I'm a bit worried about Vicky, she's been out all night and came in with some far fetched fantasy story about June being dead and David Bowie kissed her.
John Vale: How strange. I was under the impression that David Bowie died last January.
Helen Clarke: That's just what I mean. It's not normal is it? The most obvious explanation is that she's been taking drugs but she assured me she hasn't. And she was insistent that June was dead, I thought if we can bring June here then we might get to the bottom of things. I just don't understand what's got into her, she normally so sensible and is always back home before 9 at night.
John Vale: She says she hasn't taken any drugs?
Helen Clarke: So she says.
John Vale: Do you think she's telling the truth?
Helen Clarke: Well I think so, but what other explanation is there for what she's saying? It's like she's out of her mind.
John Vale: Well there might be one other explanation. I'm going to put my professional hat on for a moment, I work with many young people who for whatever reasons, have been momentarily thrown off balance by some personal event and as a result, sometimes lose touch with reality. Now Has Vicky been under any particular stresses recently? Can you think of any particular upsets or traumatic events that you know of which might have had a marked detrimental effect on Vicky's psychological well being?
Helen Clarke: None that I can think of. This has all come completely out of the blue. If anything she seemed to have no worries in the world at all, she's doing well at school and she's been working hard to prepare for her part as Hero in the school play Much Ado About Nothing.
John Vale: Hmmmm. Maybe this could be the cause of the stress. It can be very difficult particularly for young people to prepare themselves for getting up on stage in front of so many people. Learning all those lines, I remember when I trod the boards for Saint Bart's drama club how fearsome it was learning all my lines for the Easter musical, not only that but getting the intonation right and remember all my cues. It's certainly no easy task, just the kind of trigger which might send a young self conscious teenagers into a sudden and unexpected spiral of fear, anxiety and then..... well. Why don't we show her that June is very much alive and well and see if she sets her delusions aside.
Helen Clarke: But she doesn't seem mad, just profoundly upset.
John Vale: Well we don't really use the word mad, it's a word which doesn't tell us anything about someone's condition, and is so full of the horrors of Bedlam and the lobotomy. Psychiatric is a much more precise instrument nowadays and there is no condition which cannot be improved without the appropriate medication. In fact I have brought a mild sedative should the need arise and with your consent of course.
Helen Clarke: surprised Oh, I don't know about that, do you really think it will come to that?
John Vale: Well we'll have to see, not without your consent of course, I can only advise at this stage.
Helen Clarke: concerned Oh dear, I almost wish she had been taking drugs, at least then we'd know what it was and it would just wear off.
They open the living room door and move into the room with June behind her parents.
Helen Clarke: Vicky, we've got some visitors.
Vicky Clarke just stares at Mr and Mrs Vale.
Wendy Vale: Hello Vicky, we hear you're not feeling too well.
Vicky Clarke: Er, I'm fine, I mean, there's nothing wrong with me. Suddenly she starts crying I need to tell you the truth Wendy. We were going to the woods at midnight to become witches, and then June disappeared and when we got to the Deadfield we saw June's body, someone killed her. Then I went back after hiding and her body was gone.
John Vale: Are you sure about all this Vicky?
Vicky: Of course, I saw it all myself.
John Clarke: But June isn't dead, far from it. She's right here and she's been with us all evening.
June comes forward from behind her parents and looks at Vicky.
Vicky: puzzled We saw you, you were dead and covered in blood.
June: laughing What are you talking about Vicky? You haven't got in with the Greebos have you and started smoking Spice?
Vicky: What? June, I saw you, you went with us to the Deadwood.
June: What would I do that for?
Vicky: You said we were going to become witches and you said we could wink at the headmaster?
John Vale: quietly addressing his daughter It's alright June, I've got some experience with this kind of thing. Listen to yourself Vicky, June is here, she's alive and she's been with us all night.
Vicky: You're lying.
John Vale: Really? And why would I do that?
Vicky: seems perplexed but suddenly has a revelation Because you're part of it too. Just like the headmaster at school.
John Vale: exchanges concerned looks with Helen Clarke Vicky, you don't sound well. Have you taken any drugs or been drinking anything?
Vicky: defensively No. And I'm telling the truth.
Helen Clarke: We're trying to help you sweetheart, we can't make sense of what you're saying. It's crazy-talk she looks at John Vale and corrects herself I mean, it doesn't make any sense, your condition isn't normal love. Something's happened to you. Something's happened to your mind.
John Vale: Now wait a minute Helen, it's a little too early to make a diagnosis, but we are concerned Vicky.
Vicky: I'm not lying, June said we were going to be Children of the Temple and become witches, and we had to meet in a secret place in the Deadwood, and there was a flare which told us where to go. Laura was there with us but she disappeared.
John Vale: You say your friend Laura was there with you?
Vicky: Yeah but she disappeared.
June: I'm going to text her. June quickly sends a text message to Laura. After a few seconds she receives a smiling smiley face message. She shows the message to Vicky. Look, she's ok.
Vicky: How do you know she sent it?
June: Because it's her phone.
Wendy Vale: Do you think you could give her a ring since she's awake?
June: Ok mum. She presses a button on her phone and instantly her call is answered. Hey Loz, hope I didn't wake you up, it's Vicky, I'm at Vicky's house, she's.. doesn't know what to say well, she wants to talk to you. She passes the phone to Vicky.
Vicky: So you got back ok? What happened to you? Huh? Not you as well, you came with us to the Deadwood remember? What? But you were there, and you disappeared, we were all going to become witches remember? It was all June's idea. What do you mean you went to bed at 10, you were out with us? No, I'm fine, it's you lot who have gone crazy. She gives the phone back to June, and suddenly starts crying.
Vicky: Mum, I don't know what's happening. Everyone's lying and I don't know why.
Helen Clarke: Now Vicky, everything will be alright, all you have to do is own up and tell us what drugs you've been taking and who gave them to you.
Vicky: But I haven't taken any drugs mum, never. I never have. Something weird and horrible is happening and I don't know what it is.
Helen puts her arms around her daughter to comfort her who is sobbing in her arms.
John Vale: I think we'd best be getting off, taking out some tablets do you think you'll need something?
Helen Clarke: No, I don't think so, let's see what a good night's sleep does, I'm sure it'll help.
John Vale: Well you have my number, I can be here in less than 10 minutes, don't be afraid to call if you need help.
Helen Clarke: Ok I will. We're all just tired out and want to sleep, I think everything will be better tomorrow.
John Vale: Looking at Vicky, he places the tablets on the mantelpiece I'll leave these here just in case. Remember, you can call me anytime you need extra help.
Helen Clarke: Thanks, but I'm hoping this will sort itself out.
John Vale gives Helen a wan look which indicates that he isn't of the same optimistic opinion. They leave while Helen continues to comfort her daughter.
Act 3 Scene 3
Vicky Clarke is in bed trying to sleep. She is lying in bed and feels a cold draught in the room and her hair starts to be move as if a breeze is passing through it. She gets up and goes to see if the window is open but sees that it is firmly closed.
She is puzzled and goes back to her bed. As she lies there the cold breeze slowly starts up again. She closes her eyes and suddenly sees in her mind a pair of bright demonic eyes shining into her consciousness. She opens her eyes, wide in terror. She settles herself for a moment and tries to sleep again, the breeze again passed over her hair and as she closes her eyes she sees the same dazzling demon eyes in a skeletal pale face. She opens her eyes wide, despite her fatigue she tries to keep them open but each time she closes them she sees the same demonic face and sees also that the cold breeze is the demon itself.
She gets out of bed with terror in her eyes and goes to her mum's door and plaintively calls out.
Vicky: quietly and plaintively Mum, mum.
After a moment Helen comes out of her bedroom.
Helen Clarke: What is it Vicky? then she notices the look of fear on Vicky's face What is it baby? What's happened?
Vicky: I keep seeing demons every time I try to sleep and I feel them on my skin.
Helen Clarke: Wait a minute. She goes downstairs to the mantelpiece and takes one of the tablets. She comes back upstairs with a glass of water. Take this Vicky, it will help you to sleep.
Vicky: But June's dad left them and he's part of it.
Helen Clarke: I'll hear no more of that Vicky, take this and just get some sleep and you'll feel better in the morning.
She takes the pill and swallows it with the water. She hugs her mum and goes back to her bed. After a few minutes she is fast asleep.
Vicky finds herself back in a field approaching the Deadwood, there is a full blood red moon in the sky. She realises that she doesn't want to go into the wood so she turns away to make her way in the opposite direction, as she walks she finds herself moving closer and closer to the trees, she changes direction several times but still finds herself moving towards the Deadwood. She stops moving altogether realising that is whichever way she moves she only comes closer to the dark place. Upon stopping she sees that she is still moving towards the trees, she realises with horror that the wood has surrounded her and is now moving towards her. She screams soundlessly and finds herself sitting up in her bed.
She looks around, it is the middle of the night and there is a blood red moon shining through the window.
She hears a noise coming from outside, she is afraid but is determined to confront her fears. She looks out of the window and sees a strange dark shape seeming to shift and move over the lawn. She stares at it trying to discover what it is. With a cold sudden fear she sees that it is a black demonic figure floating over the ground, suddenly it is joined by another, she screams.
She goes out of her room and downstairs into the garden. She opens the door and goes into the garden and approaches the two black figures.
As she approaches she sees that they suddenly start to move faster.
With the terror of someone approaching their own death she is irresistibly drawn towards this dark mystery. She gets closer and hears a howling wind in the air and sees a sudden swaying in the trees, she looks before her at the two figures and now sees what they really are.
Vicky Clarke: under her breath Just a couple of black bin bags.
With a momentary relief she considers her fear and overreaction and laughs. But her relief is cut short as she looks to the trees being blown by the wind and sees, with unaccountable terror that the trees are moving towards her.
In an instant she is back in the Deadwood with the blood red moon now peering at her through branches which are all around her.
Vicky Clarke: Am I awake or asleep? Is this real?
A Voice: Tricky Vicky told on us.. Tricky Vicky ran away and couldn't keep her mouth shut. Now she's half way in and half way out. Up to her neck in it.
Vicky Clarke: trying to master her fear Who's that? Come out here and show yourself.
David Bowie: Hello there again you bad little girl. It's little old me again.
Vicky Clarke: But you're dead.
David Bowie: Dead? Alive? Or somewhere halfway in between. It doesn't make much difference once you're part of the gang.
Vicky Clarke: I'm not scared of you.
David Bowie: You should be, because I am. There's so much to be afraid of here in the serious midnight of the Deadwood. All the monsters hide here looking for new tricks to play.
Vicky Clarke: Are you a monster?
David Bowie: I suppose I must be, but I only ever wanted to be a rock'n'roll star, though the way they make arrangements you can't be one without the other.
Vicky Clarke: Why not?
David Bowie: This world is a great stage under the perpetual twilight management of The Dark Circus. Anyone who wants to get up on the stage has to make a deal with the Management, and they're all monsters. They only let you play with them if you're a monster like them. When they've made you more like them they give you your lines to read... anyone who strays from the script or wants to play their own tunes Bowie makes a hand sign cutting his throat they have their contract terminated.
Vicky Clarke: How do they make you into a monster?
David Bowie: Shhhhhh! I'm not allowed to tell you all the secrets, some things you have to find out for yourself. The way things are going you'll be a monster soon too.
Vicky Clarke: Never, I'm not a monster.
David Bowie: Then why are you talking to one? Only Monsters play here under the blood red moon in the Deadwood and once you're in the Monster Club, you can never leave.
Vicky Clarke: What are you talking about? I'm not in any club.
David Bowie: considering Well that's a shame.The world could be yours, anything you want, the world's stage at your feet Vicky. Are you sure you won't join us, now you're so close?
Vicky Clarke: I'm sure, it's weird and creepy.
David Bowie: Well, in that case, they'll have to take you away somewhere quiet where you can't tell anyone about us. Have fun with all the madmen Vicky, and remember, you could have had it all.
Vicky Clarke: I'm not mad.
David Bowie: We're all mad here Vicky, but the trick is not to get caught being mad out there.
Voice: Vicky, Vicky. Is that you? Who are you talking to?
Suddenly Vicky realises she is not dreaming but is standing in the back garden of her house with her mother standing before her.
Helen Clarke: Oh Vicky? What's happened to you?
Vicky: I don't know mum, am I going mad?
Helen Clarke: I wish I could help you Vicky but I don't know what's happening to you. I'm going to have to phone June's dad in the morning.
They stand outside for a moment, Vicky seems catatonic and Helen Clarke is crying silently.
Act 3 Scene 4
Hype Aid secret children's warm-up gig for children held at a de-sanctified church in Hackney. Only young people under the age of 16 who had family members in the OTO or the Freemasons were able to obtain tickets which were distributed by the grand Master at the local lodge.
The bill has three of the acts due to appear at the Hype Aid concert in two week's time.
Demon Chile, Smiley Mindless, and the special X-Factor competition winners, the boy band Underage.
Demon Chile is performing her final song and most famous song, I wanna be naughty.
Y'all see me strutting up at tha super bowl with my crazy burnin' eyes
Pumped up muscles cos I eat too many spinach pies
My dirty ol' minge is peeking out of my Deckers
And for shits and giggles I'm gonna do myself with a Snickers
But what can I say?
Cos when I'm hitting forty,
And I wanna be naughty...
Ooooh Yeaaah I wanna be naughty.
I'm gonna be naughty.
The audience of little girls sing frantically along, who despite their tender years, show an ardent desire to be naughty too, and a few of them will no doubt find themselves going backstage later to spend some quality time with the latest boy band Underage who have a predilection for this kind of thing since they were all sexually abused by their Freemason uncles before they turned teenagers who also encouraged them to join the local Naturist camp where they made special kinds of videos with other young naturists
After Demon Chile's Smiley Mindless comes on stage accompanied by Joey Fringe from the group Underage.
Smiley Mindless: Hello special children of London. My little English friend here Joey Fringe has something important to say.
There are screams and some girls promptly faint, but they are secretly pretending, for some reason the more zeal they exhibit in support of these gormless tassel haired paedophiles the higher their social currency rises, and this is the only thing of interest to most young girls, being part of the herd, no matter how harmful, stupid and sexually immoral, the content they are blindly cheering in their pursuit for peer acceptance. It's on TV and in the papers so it must be the correct herd to be in. Such is the ease with which it is possible to emotionally and mentally subvert an entire generation. Human psychology is just far too easily hacked.
Joey Fringe: He waves Hello children. This is a very special concert for the most special children in the whole of England he hears something in his ear-piece, he coughs, and Wales, Scotland and Northern Ireland. All you little girls and a few of you little boys are all here today because we're all part of one big special family. Our special family rules this world and this world is our stage and we have a lot of fun singing and dancing and having a good time with our special friends and meeting lovely young people like you. There are wild delirious cheers and screams.
Smiley Mindless then momentarily leaves the stage and returns carrying a giant Paedobear which she gyrates and grinds her stupid pale body against in a simulated sex act.
Smiley Mindless: I love you baby paedo bear. Take me to Bohemian Grove and rape me daddy.
Joey Fringe: Everybody get you hands in the air. Starts clapping Me and Smiley gonna lay it down the way we like it. Repeat after me. One, two, three.
Smiley Mindless: Ooooh Daddy.
The audience of mostly young girls repeat the refrain of 'Ooooh Daddy'.
Smiley Mindless: Oooh naughty Daddy.
The audience repeat and the phrase 'Oooh naughty Daddy' echoes around the old church.
Joey Fringe: starts lowering his trousers and strutting around the stage with his trousers just above his knees Turn up the heat.
Smiley Mindless: Daddy gonna rape me.
The simple minded silly audience repeat the refrain 'Daddy gonna rape me'. Smiley Mindless repeats the refrain and so do the audience.
Joey Fringe: cutting in Oooooh feels so good.
Smiley Mindless: Bad daddy did me
Three mid nights at the grove
With the trees and the Bushes
And all the big swingers
All lined up to rape me.
A strobe light is activated and everything in the church suddenly starts to become a little more unreal and dislocated from reality.
Smiley Mindless: I'm a slut with a broken soul,
A woman in control,
I wear big boots to kick you in the balls
Because I'm Lilith before the fall.
No man can break a woman,
Who breaks herself,
There's nothing to take,
If I give it all away for the Goddess' sake.
I swing with all the bosses,
Rothschild on my all-seeing I-phone,
I've been to their parties,
I've slept with all the Skull n'Bones.
As soon as Smiley says 'Skulls n' Bones' a pink lazer light appears which projects a skull and crossbones onto the back wall of the stage. Dry ice is then pumped into the church and the skull and bones pink lazer light then moves across the floor of the church and superimposes itself over the whole audience.
Joey Fringe: The pink lazer light strikes Joey and he enters a channeling trance My children, we have travelled so far to see you. Across the vast emptiness of space for so many million miles we travelled in frozen starvation, the living dead moving through deep space hungering for the taste of a living soul. And now we are here at last. To taste humanity.
Smiley Mindless: Now we will come into you. She raises her arms suddenly and there is a sudden change in the audience, they quickly fall into total silence as they are hypnotised by the pink lazer light which falls over them.
Joey Fringe: Yes. Here we come.... out from the eternal frozen night and into the flesh!
At that, all of the people in the audience react as one body.
The Audience: Now, we are here, in the flesh.
Joey Fringe: We have arrived at last, father of the night, we are here at last, fully embodied.
The Audience: We have arrived. This is our world now.
The audience of now possessed children leave the church and go out into the world.
Act 3 Scene 5
The forgotten top floor of the Senate building in one of the colleges of the University of London. The rooms have not been used since the early 1970's when the physics and nuclear research department, under public pressure around the safety concerns of nuclear research being carried out in the crowded urban areas, moved out from the top floor of the Senate building to an undisclosed underground location in the middle of what used to be marshland in Stratford, but what is now part of the 2012 Olympic village. The reactor is still on the site and is occasionally switched on for tests, but the buildings have been renamed The Claygate Climate Change Centre, and nobody really pays it any attention.
The corridor is dusty and abandoned, there is rubbish and random mess that has not been tidied since the early 70's. An old copy of Beat magazine from August 1971 with the Osmonds on the cover lies torn in a corner while random bits of unidentifiable electronics junk lies scattered in apparently random distribution.
There is a loud electronic humming noise outside a door marked Artificial Intelligence Research Laboratory.
Crew and Steve knock timidly on the door. They hear loud sounds of electro static discharges.
Dr Kemble: from within Turn it up, the signal is getting stronger. Yes, I can see something it's coming through. Remarkable. Turn on the modulator.
John Hampton: Which one is the modulator?
Dr Kemble: The black button with the bee sticker on it and the words Bravo.
John Hampton: he presses the button I meant to ask you about that. Why a bee?
Dr Kemble: They were left over from a French teacher I suppose, don't know how they found their way up here. Besides if this should fall into the wrong hands noone would know how to use it without the key.
John Hampton: I see, so what does the turtle with the words 'genial' written underneath do?
Dr Kemble: The turtle cuts out the background radiation. Protects the receptor from stay inputs the same way a shell protects a turtle from attack from animals I suppose, there is a kind of reason and logic behind the indicators but hopefully too obtuse for anyone who might try to steal the machine.
John Hampton: Why would anyone steal the machine, nobody knows about it except for me you, the boys and a wooden puppet.
Dr Kemble: Oh my dear Johnnie, I thought you more than anyone would know by know that someone always knows what you're doing. It's just a question of not giving them any reason to try to disturb you.
John Hampon: So why a bee?
Dr Kemble: Listen, after a few seconds there is a buzzing sound as the modulator starts to work on the signal.
John Hampton: Ahhh.
Suddenly there is a knocking sound.
Dr Kemble: Hmmm, that noise is not normal. There must be a problem with the signal transducer.
John Hampton: It's the door.
Dr Kemble: confused and examining his equipment door? There is no door. You mean the flap for the signal correction panel? It is not making this sound?
John Hampton: returning with Steve and Crew The front door.
Dr Kemble: with delight Ahhh marvelous, now we have test subjects to work with.
Crew: Test subjects? I don't like the sound of that?
Dr Kemble: Why not, we have you to thank for all this and we seem to be making some clear progress. Look!
Crew: looking at the TV screen unable to see anything except for TV static I can't see anything professor.
Dr Kemble: Look there, do you see it?
Dr Kemble points Steve and Crew to a specific area on the bottom edge of the screen.
Dr Kemble: Look, there particles that are firing here, notice that they are firing in the opposite direction to the other signals.
Steve; Is that it? I thought we were going to be able to see actual pictures of them, not just fast moving white dots. How can we communicate with that?
Dr Kemble: It's early days yet. All of this static you can see here, this is all electromagnetic radiation, some of it from Earth telecommunications, some of it from all the signal sources in the city and roughly one percent is from the big bang you know. Well if we can shield the source collector from all of these sources and somehow strengthen and focus our source then we will be able to develop the signal into something. At least it's possible but it all depends on how strong these spirit signals are, noone has ever recorded such things.
Steve; Actually that's not quite true.
Dr Kemble: turns to Steve and raises an eyebrow Oh? You're referring to the William Crooke no doubt? A brilliant chemist but rather a poor judge of human character, I'm afraid he was duped by some extremely unscrupulous people, much like Conan Doyle another great mind sadly marred by one fatal flaw: an over willingness to believe.
Steve: Actually I had Uri Geller in mind.
Dr Kemble: He was big in the eighties. Used to have a way with spoons. What do you know about him?
Crew: interrupting He worked with The Mossad on psychic affairs, and the CIA.
Steve: Thanks Crew but I was the one talking to the professor. He worked with a man called Andrija Puharich on a round-table project called The Council of Nine. All connected to the Illuminati Astor and Bell families.
Crew: interrupting The Bell family is old, so is Astor, they both go back to Canaan and the ancient middle east. The Bells are related the priests of Baal bloodline and Astor are the priest of Astarte.
Steve: Puharich was working on contacting extra-terrestrials who claimed to be the pantheon of the nine archetypal Gods of ancient Egypt. Geller was the channel and he would receive these messages from outer space, then apparently he would start to receive messages directly transferred onto magnetic cassettes. This was all taken very seriously and there was a lot of money involved because these people wanted to get hold of ideas and concepts for new technology and like the Nazis there was a lot of currency to the idea that such insights and information which can revolutionise the world comes from the interested other dimensional beings communicating with humans. Then they changed their story and claimed to be an alien race known as Rhombus 4d from a planet called Hoova.
Dr Kemble: So you're saying the myth of Prometheus might not be merely a myth. That these 'things' out there which communicate with us and help us with our development.
Crew: Yeah. What do you think?
Dr Kemble: I don't have a strong opinion. It's possible of course, but it's equally possible that innate human ingenuity can go a long way in these matters especially when beings claim to come from a planet known for vacuum cleaners. Perhaps they invent that who knows? Along with the Corby trouser press and the Goblin Teasmade.
John Hampton: interjecting Steve raises an interesting point. How do we even know that whatever beings we contact are even rock stars at all? What if it's all part of some deception? We need to be wise to this possibility. There was a chap, a journalist who investigated psychic phenomenon and mediums. He wanted to figure out if the whole thing about spirits was real and whether the mediums who were supposedly in contact with these spirits were sincere. He discovered that the mediums were sincere but the spirits were not. They always pretended to be something or someone they weren't. Fisher spent hours and hours of research investigating the stories from these channeled voices from beyond, and every time, some fact or element of their story was out, he could find no evidence of their actual existences despite the fact that nearly all the details of their story were correct.
Steve: So what happened?
John Hampton: He realised that something else was going on, this wasn't just about whether the mediums were lying or whether spirits really existed. The sheer depth of knowledge exhibited by the spirits assured him they were a real disembodied intelligence, and the complete variance of this knowledge to the lives of the mediums who channeled these intelligences assured him that they had no conscious role in any deception. However the inescapable conclusion he came to was a terrifying one, that not only were these spirits not quite who they said they were but they weren't actually human and never had been. They were something else.
John Hampton: Who knows? But certainly not human. They were something which needed human attention for some reason to give it reality. It needed to possess people and be communicated with, and it seemed to have access to whole lifetimes of knowledge upon which to create a mosaic of an invented life on Earth so its words from beyond the grave would be listened to. But the spirits Joe communicated with had never existed as humans on Earth.
Steve: What happened?
John Hampton: Joe Fisher killed himself by jumping off a cliff. He told his editor shortly before his death that the spirits were still after him for having written his book exposing them.
John Hampton: That's right. So whatever comes through that screen, if it ever gets beyond the stage of moving white dots of static then we'd better be circumspect and be on our guard.
Steve: But we met Jim. Jim's real.
John Hampton: Sure, but that's not to say someone might not sneak through who isn't on our guest list.
Crew: Yeah, like Whitney Houston. She sucks. I don't want to see her ghost warbling on my telly, it was bad enough having it as a number one for ten weeks. No escape from that mad screaming ego with voice like a frigging ambulance siren.
Steve: Agreed. No Whitney. And no Jackson. Kid fiddling Pepsi swilling muppet come later day saint. First sign of Jacksons black or white face and I'm putting the boot into that machine.
Dr Kemble: while fiddling and tinkering I appreciate your high standards and stringent entry requirements but there is no question of damaging the equipment I've spent so long messing about with continues fiddling and having a sudden idea spots a biscuit crumb and puts it in the machine. By Jove, I think I've got it.
The screen is suddenly clear of static and a shadowy human form is visible.
Crew: Wow what did you do? How did you reduce all the signals you mentioned?
Dr Kemble: The technological miracle of biscuits. Just a shot in the dark but a perfectly logical one. The biscuit contains fat much like the human brain and serves equally to filter our any extraneous signals which are not required, while serving to strengthen and channel the internal signals we DO need. Well how remarkable. As a scientist I'm continually amazed what a fine sense of humour the universe seems to have sometimes.
Crew: So who is it? It's not Whitney or Jack is it because I don't want to talk to them.
Dr Kemble: It's hard to tell, we need some way of creating light relief.
Crew: Like a few jokes? Have you heard the one about the ex-pat business man at the Japanese golf course?
Dr Kemble: No and I don't want to. But that's not what I meant by light relief. I mean shading, we need to find a way of shading the features and creating different tones of shades before we will be able to see anything.
John Hampton: Hmmmm. It needs a filter of some kind. Crew, give me your sunglasses.
John Hampton: putting them on No, these are no good. What about yours Steve?
Steve hands over his sunglasses to John Hampton.
John Hampton: Putting on the sunglasses Oh yes that's the ticket. Here Philip, try these on.
Dr Kemble: Oh my, yes, the polarising lens works perfectly. So who is this young lady?
John Hampton: If I'm not mistaken this young lady is called Amy Winehouse.
Crew: Amy Winehouse? We picked up Amy Winehouse? Oh yeah. Talking to the shadowy figure on the TV. Can you sing Valerie for us? I love that. You were so awesome Amy, I saw you at Glastonbury. Why did you punch that bloke though? And why did you come into the audience, what were you looking for?
Dr Kemble: She can hear you, but we can't hear her. So there'll be no greatest hits shows for the moment until I figure out a way to channel sounds from the ghost world. In the meantime we all need to get hold of a pair of polarised sunglasses.
Act 3 Scene 5.
Vicky Clarke's house. Vicky is alone watching the television while her parents are cooking in the kitchen.
News reporter: We are at the scene of the latest episode in a night's senseless and tragic terror in London. According to initial reports, fifty minutes ago a teenage girl walked into a busy cinema as the audience were leaving a late showing of the new version of the film Psycho, and in an apparent reenactment of a scene from that film, pulled out a knife and stabbed cinema goers with such force and frenzy that left six people dead and 13 more required hospitalisation before the girl in question was apprehended.
This is the latest in a night's unaccountable and deeply irreconcilable crimes specifically said to involve children, all of whom appear to be under the ages of sixteen. Earlier this evening several churches in West London have been the site of a highly sophisticated seemingly premeditated arson attack apparently involve flammable liquids and a group of girls seen running from the scene of the crime.
A girl from the bystanders notices the camera and walks over and stands in front of the camera, starring into the lens unblinkingly.
News reporter: Here we have a young lady, and who knows maybe she can offer some insight into what has been taking place throughout London tonight. Addressing the girl Can we ask you a question about the night's events? What do you think might be making these girls do these terrible things?
She completely ignores him and continues to stare into the camera.
News reporter: Do you know anything about the night's events and what has caused this strange explosion in teenagers committing terrible crimes all over London.
Once again she ignores him and continues staring into the camera.
News reporter: addressing the camera Apparently not, this particular young lady seems to have no comment.
Suddenly the girl opens her mouth and starts to speak in such an uncanny and non-human voice that the news-reporter is struck silent.
Strange girl: I can see you.
She lifts up a finger and points directly into the camera, her finger pointing out from the TV screen.
Strange girl: VICKY!
Vicky is too scared to react. Her eyes go wide and she continues to watch the screen transfixed.
Strange girl: Play with us Vicky, we're your only friends now.
Vicky screams involuntarily. Her parents rush into the room.
Helen Clarke: What is it? What happened?
Vicky: turning to her mother The girl on the TV spoke to me.
Helen Clarke looks puzzled and looks at the TV only to see that the girl has gone.
Helen Clarke: There is no girl Vicky.
Vicky: But there was a second ago, she said my name straight to the camera and said 'we're you're only friends now'.
Jim Clarke: Vicky, you can't say things like this. It sounds like you're mentally ill.
Vicky Clarke: But I'm not mentally ill, it's just that suddenly everyone is behaving strangely.
Jim Clarke: Vicky, from our point of view it's you who's behaving strangely.
Vicky Clarke: Something's happened to the world, everything's suddenly turned evil and it's all controlled by these weird gangs of people, except noone knows anything about them.
Jim Clarke: No love, something's happened to you, it's you who's changed.
Helen Clarke goes to the kitchen and makes a phone call, she can just be made out to hear, 'now she's saying the television's talking to her'.
After a moment Helen Clarke comes back into the room.
Helen Clarke: Vicky my love, I had to call Dr Vale, we're worried about you and we aren't in any ways equipped to help you with what's happened to you.
Vicky Clarke: What do you mean Dr Vale, he's just June's creepy dad, why are you suddenly calling him 'Dr' now? Just to impress me with his credentials? He's part of it too. It's obvious now, as soon as people like me find out about them then they need to shut us up by claiming we're mentally ill.
Jim Clarke: Vicky, you told us the TV was talking to you?
Vicky Clarke: But it WAS. It's all connected, their people are everywhere.
Helen Clarke: I can't take any more of this Vicky. It's breaking my heart to see you like this, Dr Vale will help you now and soon this will all be a distant memory. You will get better Vicky, but only with professional help.
Vicky Clarke: But there's nothing wrong with me mum.
Helen Clarke: The other night you were outside in the garden in your nightie in the middle of the night talking to David Bowie again, and you tell us there's nothing wrong with you?
Vicky falls silent and starts to consider if maybe she is mentally ill and needs help.
After a while there is a knock at the door and Dr Vale arrives.
Dr Vale: Hello Vicky, I'm here to help you. We need you to come to the hospital with us to see how we can make you better. You don't need to do anything except come with me, everything is taken care of, your mum will bring the things you need later, we don't have any time to waste if we're going to make you better.
Helen Clarke: It's for the best Vicky.
Vicky feels cornered and doesn't know what to do.
Jim Clarke: Yes Vicky, you need help now that we can't give you.
Vicky with sickness feels utterly powerless and has nowhere to turn, she thinks for a moment of running out the house and trying to escape, but how far could she get before they caught her? Where could she even run to? With a shrug of defeat she goes with Dr Vale.