Random Thoughts

It is helpful to be aware of low-quality thoughts when you have them. The alternative, in the absence of better or no thinking, is to do something constructive.

A slightly skewed antenna can lead logic to wrong places.

People can be very smart in some areas and behave in ways that drain them of basic cognitive intelligence in others, usually without their realisation, and especially if reinforced by social feedback.

Rather than blandly following expectations, you have an opportunity to create something interesting when you play by your own rules.

If someone keeps getting an answer wrong because they don’t understand the question, they deserve sympathy and help.

Humanity as a group has been and is a psychopath; or at least, the leaders and structures have spread the illness. Individuals are usually far from this but are incentivised and swamped by the culture. What would be kinda cool is if humanity were kind yet strong-willed, funny yet intelligently self-aware.

What’s the point of winning a trophy if you’ve cheated? What does the trophy mean to you? Does it mean the higher perceived social status derived from the acknowledgement of others? In this world, the worst have usually been rewarded with trinkets, titles, and luxurious circumstances. So why would you sell your true value to seek the same?

This should be the emphasis in an educational system: to cultivate the potential to think a semi-original thought; the agency to take action without societal pressure; the ability to be oneself despite the winds of the time. The embedded culture must be rooted in humility, kindness, and generosity of spirit. However, the opposite behaviour is often rewarded in current society.

How will social media change when people can look and sound like anything they choose in realistic AI-generated locations and situations?

If scenes can be designed by text prompts, what’s the point of expensive film sets and CGI?

Actors would need to offer something unique, as AI would be able to produce generic performances.

Perception paints reality.

Unclothed of thoughts

Unclothed of thoughts, murmuring in the breeze,

Under the audience of the leaves,

Where lips feel the warmth of other lips:

Mine yearn for you, deeper in your kiss.

By night we have our chance,

Embraced in a candlelit trance;

Though lifetimes keep our arms apart,

In dreamscape realms, we share a single heart.

First to 8

 (Version 2)

Scratch pad: Riffing on “The Man Who Was Thursday”

INQUISITOR:

“The Central Anarchist Council plan chaos, hidden behind the guise of philosophical debate and social reform. We need someone on the inside, someone who can navigate the complexities of their ideology and expose them. We’ve managed to secure you a position within their ranks. You will be known as ‘Thursday.’“

…..

THURSDAY:

“Our society is built on the precipice of a great chasm, one of inequality and injustice. It is our duty to bridge this divide, not with words, but with action. I propose we start by undermining the false security in which the complacent find their comfort. Our actions must resonate with the disaffected, turning their passive discontent into active defiance. We must be the spark that ignites the fire of revolution.”

…..

SUNDAY:

“Your pursuit has been most enlightening. But you must understand, everything you’ve experienced, every revelation and doubt, was by design. You see, the true anarchy I sought to sow was not in the streets of London, but within the confines of your own beliefs, your trust in order, in structure, in other people.”

THURSDAY:

“In seeking to undermine what I believed, you’ve only strengthened my resolve. Chaos cannot build and does not sustain. Only through understanding and cooperation can a better future be created.”

SUNDAY:

“You’ve journeyed far in search of answers, grappling with shadows and illusions. It’s time you understood the true nature of our endeavour. The Central Anarchist Council, the missions, the internal strife—each element was meticulously crafted not to sow chaos, but to cultivate a select group capable of transcending conventional boundaries of thought and action. Our world is on the cusp of monumental change. To navigate this transition, we need leaders unbound by traditional dichotomies. You were chosen to be one those leaders.”

THURSDAY:

“Why the deceit?”

SUNDAY:

“Because true understanding cannot be given; it must be earned. You needed to experience the ambiguity, the doubt, the struggle, to truly grasp the complexities of governance and freedom. Look beyond the confines of our society, our ideologies. The future demands a new kind of leadership, one that embraces complexity and navigates uncertainty with wisdom and empathy. This was your true mission, to be a guide on the journey towards a more enlightened future.”

Error et descensus

One must remember:

Evil pretends to be the divine.

The wilfully guilty frame others for their sins.​

Cruelty cloaks itself as the guardian of reason.

Those with nothing to say hide behind a wall of words.

The ignorant deceive with feigned wisdom.

Hence, truth must resonate more intensely.

Reflections on Creative Practice

When I write stories, it serves as a reflective journey, a means to unravel and interpret my own perspectives and life experiences. This exploration is not merely introspective; it also embodies a leap into the lives of others, into circumstances that can be very different from my own. Writing becomes an empathetic outlet for me through which I can simulate experiences and emotions—a place where I can gather, refine, and articulate what I truly think, feel, and believe as a human being engaging with the world. I outline here a personal philosophy that drives this creative practice, with a particular reference to my recently written audio drama, The Staircase, which delves into themes of alienation, self-discovery, and a quest for meaning in an often ambiguous world. Writing the script, as with most of my creative work, was a personal philosophical exploration, serving as both a mirror and a catalyst for deeper self-understanding.

In addition to personal growth, progress in every societal domain from science to the arts relies on the ability to think creatively. Rather than passively receiving content, inertly thinking how one is told to think, and compliantly accepting the constraints imposed by others, creativity represents a higher ideal; it involves infusing a spirit of discovery, exploring ideas, and sometimes moving beyond conventional limits to dream of something new. The Staircase breaks several conventions for good audio drama, purposefully. The first, and most important, is that its primary meaning is not clear and may therefore confuse listeners. In fact, the narrative has several layered interpretations, all of which are perfectly valid for the evidence presented. The layers of meaning enable the narrative to operate on multiple realities simultaneously, encouraging deeper dives into the drama beyond its surface. As the audience engage with and interpret the layers, I would like them to feel a sense of co-discovery and personal investment in the story.

The narrative is formed from the first-person perspective of Guy, the main protagonist in a series of stories, called Human World. Ostensibly, the audio drama is about a person being chased by a terrifying creature up an endless staircase. Guy has to rest and seek sustenance by entering doors to other worlds, but no matter what he does, he always ends up back on the staircase. One may ask the valid question, what is this really about? And how does the story resolve with a satisfying answer to the mystery? The answer, from my perspective, is that mystery symbolises the unknown aspects of life and the universe; it reflects humanity’s perpetual quest for knowledge and understanding in the face of the inexplicable. The use of imagery, symbolism, and metaphor, rather than the use of explanation, serve to deepen the thematic impact. For example, the recurring motif of a fragmented mirror in the Human World stories not only symbolises the protagonist’s fractured sense of self but also reflects the theme of distorted reality.

Life is often lacking in clear-cut answers, and by incorporating this into my writing, I am mirroring the complexities of the world, allowing for multiple layers of meaning within a single narrative. For instance, the story could be describing an Artificial General Intelligence experiencing a simulated world that it had created in order to understand the human condition (with reference to Christian concepts of God living and suffering on Earth as Jesus); alternatively, it may be about a human experimented on by inter-dimensional aliens, or a ghost trapped in limbo between past and future lives, or a dying man’s mind trying to make sense of his life, or a confused person experiencing altered states of reality through drugs and illness, or maybe a biblical Job-like character being challenged by supernatural events. I would suggest, however, that all these explanations are true on different levels. Guy is ‘the ghost in the machine’, both simulated and alive, created by a digital parent world, but born of a human’s experiences. The ambiguous writing reflects that we do not have answers to the big existential questions of reality; we interpret a phenomenon through lenses that are familiar to us rather than comprehend all the dimensions of its being. To label the meaning would be to diminish the meaning, for the interpretation is determined by what resonates and connects within the listener.

Good art is inherently subjective, as it reflects aspects of the experiencer’s own life and awareness. In The Death of the Author, Roland Barthes argues that a writer’s intentions and biographical context should not dictate the interpretation of their work; people often see aspects of themselves in an artwork, and their reactions can reveal insights about their own nature and experiences. Well-crafted art therefore allows viewers to peel back layers, discovering multiple connections of meaning and symbolism. It prompts the experiencer to think, question, and feel—engaging them in an ongoing dialogue with the work. However, Viktor Shklovsky’s notion of Formalism in his essay Art as Technique, when applied to writing for performance, underscores the importance of a clear narrative—one that can make implicit themes and meanings more perceptible and impactful to the audience. Shklovsky’s perspective is that clarity in storytelling is not just a stylistic choice but a fundamental and necessary technique. In contrast to this prescription, I am very comfortable with ambiguity; I do not have a psychological need for precise one-to-one answers that match and label the complex. John Keats introduced this concept of ‘Negative Capability’ in a letter to his brothers in 1817. The term has since become a significant concept in the discourse on artistic theory and the philosophy of creativity. Keats described Negative Capability as the capacity of being ‘in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.’ Essentially, it refers to an artist’s ability to accept ambiguity and paradox without the need to resolve them rationally. It is about embracing the unknown and the mysterious, and being comfortable in the midst of uncertainties; an openness that can lead to deeper and more profound artistic expressions. When not constrained by the need for definitive answers, writers can explore more truthfully the nuances of life—they notice and appreciate the subtleties of the world around them, often finding beauty and meaning in ambiguity.

A convention in good audio drama is to convey information subtly through conversation and sound rather than by the overt exposition of characters, such as explaining plot points, backgrounds, or their feelings. I generally adhere to this point that while some narration can be helpful, overusing it to describe actions and settings can make the drama feel more like an audiobook than an immersive experience. However, by stepping out of the conventional boundaries and experimenting with new ideas, styles, or forms, writers can create unique, albeit more risky, work. In this instance, I set myself the challenge of inverting the exposition convention, by choosing a first-person narrative, and giving the listener deeper access to the inner workings of Guy’s mind. As someone influenced by Dostoevsky’s novels, such as Crime and Punishment, I am especially interested in the immediacy of the protagonist; and the first-person perspective is particularly well suited to depicting internal battles of the human psyche. Dostoevsky often grappled with moral and philosophical questions through intimate portrayals of his characters’ perspectives—a writer influenced by him might therefore imbue their narrative with similar existential inquiries, creating a means for exploring deeper ethical and philosophical themes. The first-person viewpoint also adds a layer of subjectivity to the narrative, and invites listeners to question the reliability of Guy as the narrator. Unreliable narration adds more depth to the story, as listeners are left to decipher what is true and what is a product of Guy’s perception or self-deceit.

I aim to incorporate philosophical themes into my writing in ways that enrich the narrative, influenced by writers like Douglas Adams, who used a seemingly light-hearted approach to explore profound metaphysical questions. Despite the comedic overtones in The Hitchhiker’s Guide to the Galaxy, Adams delves into existential themes, such as cosmic meaning and the search for knowledge and truth—the famous answer being ‘42’ to ‘the ultimate question of life, the universe, and everything’. The joke influenced my writing of the crash test dummy’s comment, ‘“What is the meaning of life?” is the 404^th most asked question of the Great Oracle’s Database’—404 being the standard website error for ‘not found’ on the internet.

I also combine the humour with tragedy, sometimes darkly. The interplay between Guy and Lexi frequently serves as a comic contrast to the desperation of Guy’s seemingly hopeless situation. This type of blend, as seen in the works of authors like Charles Dickens, can significantly enhance the impact of a narrative. For example, Lexi’s change of role at the end, to someone who is genuinely concerned about Guy’s welfare, highlights the seriousness of what is happening to him. By contrasting moments of lightness with the darker aspects of the story, the tragic elements can be thrown into sharper focus, making them more poignant. Charles Dickens’ novels, which often dealt with serious social issues like poverty, child labour, and injustice, are marked by his distinctive combination of comedy and tragedy. He created memorable characters like Mr. Micawber in David Copperfield or Samuel Pickwick in The Pickwick Papers, who, despite their often dire circumstances, provide comic relief. These characters evoke sympathy and laughter, making the tragic elements of their stories all the more moving. Shakespeare, as might be expected, was also a master at this; for example, the heightened emotional impact of the usually comedic Falstaff meeting a tragic end in Henry V. Life is a mixture of joy and sorrow, and good art often reflects both.

As a writer who gravitates towards crafting surreal stories, my creative preferences might suggest several things about my personality, interests, and life experiences. The bizarre offers an escape from the mundane and ordinary, and I have found that surrealism can be a creative outlet for the expressing of thoughts and feelings that are difficult to articulate in a more literal or conventional manner. For some writers, such as me, creating strange worlds and characters can be a form of personal reflection or catharsis; it can be a way to process and express the complexities of their inner world in a metaphorical or symbolic manner. The scenes in The Staircase touch on elements of the subconscious and dreamlike states, and are heavily influenced by surreal cinema. Perhaps the most famous in this genre, David Lynch’s films like Mulholland Drive and Blue Velvet are known for their dream sequences, and exploration of the darker side of the human psyche. Federico Fellini’s films, notably 8 ½ and La Dolce Vita, blend reality and fantasy, often reflecting his own life and dreams, and are marked by a distinct, whimsical style. Another personal influence is Ingmar Bergman’s film Wild Strawberries, featuring dream sequences that explore the main character’s memories and fears. With a penchant for quirky storytelling, Michel Gondry’s films like Eternal Sunshine of the Spotless Mind and The Science of Sleep are distinguished by their imaginative and dreamlike qualities, often exploring the nature of memory and dreams. A key feature of the Surrealist movement, Luis Buñuel’s films, including The Discreet Charm of the Bourgeoisie and Belle de Jour, are celebrated for their dreamlike sequences and surreal imagery, often challenging the viewer’s perception of reality. In films like In the Mood for Love and 2046, Wong Kar-wai creates dreamlike atmospheres through his use of colour, music, and slow, deliberate pacing, evoking a sense of longing and nostalgia. Guillermo del Toro’s films, such as Pan’s Labyrinth and The Shape of Water, are known for their fantastical elements and ethereal qualities, often blending fairy-tale-like narratives with darker themes. Films like Requiem for a Dream and Black Swan by Darren Aronofsky possess a dreamlike intensity, often blurring the lines between hallucination and reality, and are known for their psychological depth. Also, Terry Gilliam’s films, such as Brazil, are known for their fantastical and surreal visual style, often creating worlds that blur the boundaries of reality. Perhaps my biggest influence in cinema, however, are Andrei Tarkovsky’s films, which are often described as visual poetry. His films are deeply imbued with spiritual and philosophical themes. He often explored existential questions, the nature of humanity, and the search for meaning, which lend a transcendent, dreamlike quality to his work. Films like Mirror and Stalker are layered with symbolic imagery and scenes that invite multiple interpretations, much like the elusive and metaphorical nature of dreams. He often blurred the lines between reality and illusion, past and present, memory and dream. I have written The Staircase to be of this genre, which I find to be beautiful and deeply profound. Human World is stuck at 1:13 am, like in the middle of a dream—and as a layered explanation, it also equates to 1 Corinthians 13 in the bible, Guy’s time of death as a human, and the time of his creation as a simulation in the Corinthians hyper-computer. It also equates to the time shown on a bedside clock when Guy is slipping between sleep and wakefulness.

I experience hypnagogic hallucinations and vivid dreams that spark creative ideas. Writers like Mary Shelley and Stephen King have famously drawn from their dreams to create some of their most notable work. In the preface to the 1831 edition of Frankenstein, Shelley describes how the idea for the novel came to her in a dream after a discussion on the nature of life and the possibility of reanimating the dead. This emanation of her subconscious, provided the groundwork for one of the most influential works of Gothic literature. In his memoir On Writing: A Memoir of the Craft, Stephen King discusses how some of his ideas for novels came to him in dreams; for instance, the idea for Misery came to him while he was sleeping on an aeroplane. Julia Cameron, author of The Artist’s Way, advocates for a dream-mining technique I deploy most days, called ‘morning pages’—a practice of writing three pages of stream-of-consciousness thoughts first thing after waking. The unending staircase concept was written during this process and originates from my dreaming subconscious.

Although I have conscious writing intentions that structure my thoughts, the story has ultimately emerged from my subconscious, and I do not understand everything that is contained there. Ideas can seemingly emerge out of nowhere because they have been forming below the level of awareness, influenced by hidden thoughts and feelings. By channelling such experiences into my writing, and learning from the insight of others, I can explore and make sense of my own inner life. Contemporary Japanese author Haruki Murakami is known for his surreal, dreamlike narratives—in interviews, he has talked about tapping into his subconscious and dreams to create the fantastical elements of his novels. His writing process involves a disciplined routine that includes running and meditation, activities that he believes helps him in accessing the subconscious. Carl Jung used a technique he called ‘active imagination’ to delve into his subconscious; this involved allowing his mind to wander freely in a semi-trance state, engaging imaginatively with symbols and images that arose. Jung’s approach does not work for me exactly as he described in The Red Book, but I have found that ideas often pop up depending on how my subconscious is primed; and that wandering, both in a literal and metaphorical sense, plays a significant role in enhancing creativity. Wandering involves stepping away from structured thinking and routine environments, allowing my mind to explore freely.  Lexi’s dialogue was imagined while I was walking in the countryside—and perhaps uncoincidentally, Guy is walking outside while talking to her in the story. The plot points for the story were originally written in a journal that I update from ideas that suddenly occur to me as I go about my day; and the themes were the resulting ideas of daily background exposure to the cross-pollination of concepts in technology and philosophy.  

My personal philosophy frames my interaction with daily events and fuels my subconscious. This philosophy encourages resistance to the simplification of complex emotions or issues. For artists and writers, the ability to dwell in uncertainty means being open to the myriad possibilities that exist beyond the realms of conventional reasoning and knowledge. Certainty keeps individuals within the bounds of what they know and understand, which can be far more comfortable than venturing into the unknown. Stepping into the realm of uncertainty can indeed be challenging, pushing individuals outside of their comfort zones, but it is where true value is found. My optimal creative practice is to explore all available avenues; it is one that is dynamic and holistic, blending disciplined routines with creative freedom, technical skill development with imaginative exploration, and personal introspection with external learning and feedback. The initial phase is mostly unstructured, enabling the flow of thoughts onto the page without concern for form or coherence. The subsequent phase is more disciplined, explicitly and implicitly considering best practice. Here, the unrefined ideas are analysed and iteratively developed, transforming impulses into a coherent shape. In the example of The Staircase, the secondary phase in writing the script involved reviewing best practice and in many cases continuing to break it. However, the iterative process did make the story more coherent; Guy returned to the staircase via the hospital as a plot twist. Without the second stage of writing, left to my wanderings, I may have floated further out into symbolism and strange, seemingly unconnected metaphorical sequences. In its essence, though, I had created a script instinctively and viscerally—and over time I have learned to trust this feeling when it happens, as it comes from a deeper, truer part of me that I cannot fully explain. As I wrote the final scene I was tearful and felt that I had been on a journey, like my protagonist, finding my own story arc as a writer. This was my catharsis. I was experiencing my thoughts and allowing my subconscious to show me what I am really feeling.

Formula Percentage

Before I see a film or TV drama, I want to know its “formula percentage”. The lower the better because it implies originality and genuine creativity. Of course, anything that is formulaic can be automated – therefore, a research paper I would like to read is:

 

Formulaic Structures in Film and TV Screenplays and the Potential for AI-driven Automation 

 

Through a mixed-methods approach combining quantitative analysis of market success metrics with qualitative assessments of screenplay content, this study explores formulaic structures within film and TV screenplays, examining how adherence to or deviation from these formulas correlates with market success over time. By identifying key formulaic elements that have dominated screenwriting practices, the study aims to uncover patterns and trends in the evolution of narrative formulas and their impact on audience reception and commercial success. Furthermore, it investigates the feasibility of automating formulaic scriptwriting through artificial intelligence (AI), assessing whether AI can replicate the success of these formulas.

Random Thoughts

If one views one’s own life as a work of art, then “happy, happy, happy” would be lacking in depth, whereas the layered contrast of colours and textures reveal beauty.

I realised that the words from one of my poems go very nicely with a piano version of a famous piece of classical music. I guess I should record that then. As only a piano and vocal is required, I could singsong rather than just read the poem.

For some reason, I came up with a new board game. Looks quite interesting – I would play it. I’m supposed to be creative writing, but my mind pops up with completely random things.

How to say nothing with lots of words: “I’m glad you asked me that question, look, let me be clear, we’re facing unprecedented times, but let’s focus on the real issue, and I’ll think you’ll find we’re turning the page and making progress in real terms.” Which means: “I’m distracting from the force of the question by waffling.” Good answers are always specific, with examples and evidence. Insightful metaphor helps the explanation. Rhetorical flourishes are great for inspiring vision. Humour is what makes all this entertaining.

It’s always interesting when you’ve been listening to someone on a topic and then they put themselves forward as an expert on a subject you know something about. Recently that happened and I realised he didn’t know what he was talking about. It’s wrong to assume that an expert is supported by expertise.

I’ve done all these things: writing; songwriting, singing, acting, art and photography, inventions, apps, business, politics (solutions), public speaking. It’s been interesting, but I want to make some more so.

Whispers from the Deep

Set in the early 18th century, “Whispers from the Deep” follows the harrowing tale of three sailors, Thomas, Samuel, and Edward, who survive the violent storm that sinks their vessel, the HMS Providence. Clinging to a piece of driftwood in the vast, unforgiving sea, they face not only the perils of nature but also an unseen supernatural force.

Thomas, a seasoned and superstitious sailor, and Samuel, a rational and younger crew member, are at odds over the fate of Edward, who is unconscious and bleeding, attracting the attention of circling sharks. As they drift aimlessly, strange occurrences begin to unfold around them. The sea glows unnaturally at night, and ghostly whispers haunt the air, hinting at a presence far more ancient and malevolent lurking beneath the waves.

Thomas discovers a mysterious locket in Edward’s possession. Through a series of strange visions, it’s revealed to Thomas that Edward was warned of a cursed voyage by a seer, who gave him the locket for protection. As supernatural events escalate, it becomes clear that Edward’s condition and the locket are connected to the eerie happenings.

Haunted by spectral visions and grappling with their own fears and sanity, Thomas and Samuel must unravel the mystery of Edward’s past and the locket’s powers. The supernatural entity’s influence grows stronger, distorting time and reality, forcing them to confront their deepest fears.

In a climactic confrontation with the supernatural force, the sailors are faced with a critical decision. Utilising the locket, they must choose between great personal danger or appeasing the entity to save themselves. Their choice leads to a sacrificial act that alters their fate.

Random Thoughts

What if memories could be bought and sold? People would work to buy memories and make extra money by selling some of theirs. Memory entrepreneurs would create experiences to be remembered and sold on. Also, memories would be extracted, traded, or implanted on the black market. The world’s poor would be exploited in memory farms. There would be memory robbery and memory insertion in order to manipulate. Autocracies would have national memory reeducations to make more compliant populations.

What do you want to think about now? Without asking yourself that question, you will be beaten by involuntary thought.

Imagine a reality and live how that feels, as if it is externally experienced.

Oaty Protein Bar - recipe outline

(20g protein per bar).

 

Ingredients:

            •          Rolled Oats: Forms the base of the bar, providing complex carbohydrates for sustained energy.

            •          Protein Powder: Whey, soy, or pea protein powder to boost the protein content.

            •          Nuts: Almonds, walnuts, or pecans for crunch, healthy fats, and additional protein.

            •          Seeds: Chia seeds, flaxseeds, and pumpkin seeds for extra protein, omega-3 fatty acids, and fibre.

            •          Raisins: For natural sweetness and a chewy texture. You can also use other dried fruits like apricots or cranberries.

            •          Nut Butter: Peanut or almond butter to bind the ingredients together and add more protein and healthy fats.

            •          Honey or Maple Syrup: Natural sweeteners to enhance the taste and help bind the ingredients.

            •          Vanilla Extract: For flavour.

            •          Pinch of Salt: To enhance the overall flavour.

            •          Optional Add-ins: Dark chocolate chips, coconut flakes, or a sprinkle of cinnamon for additional flavour.

 

Method:

            1.         Mix Dry Ingredients: In a large bowl, combine the rolled oats, protein powder, chopped nuts, seeds, and raisins.

            2.         Combine Wet Ingredients: In a separate bowl, mix the nut butter, honey or maple syrup, vanilla extract, and a pinch of salt. You can gently warm this mixture to make it easier to mix.

            3.         Combine Wet and Dry: Pour the wet mixture into the dry ingredients and mix thoroughly until everything is well coated.

            4.         Press into a Pan: Line a baking tray with parchment paper and press the mixture firmly into the tray. The thickness can be adjusted based on preference.

            5.         Chill and Set: Refrigerate for a few hours or until the mixture is firm.

            6.         Cut into Bars: Once set, cut into bars or squares and store in an airtight container.

Random Thoughts

Inspired by Flash Gordon and Brian Blessed, how about a new sport called Hang Gliding Archery where participants on hang gliders shoot at targets suspended from drones in the air?

 

How about “Footby” – combining football with rugby tackling? It’s football but players can also pick up and throw the ball. If a player is holding the ball, they can be tackled like in rugby.

 

At this stage in the story of humanity, human thinking is generally primitive, insentient of the enormous potential. To paraphrase Socrates, at least I know I’m thick.

 

I’m named after a character in a ghost story that my mum was listening to on the radio.

 

Is it normal to be expressionless despite reacting within?

The Staircase - Audio Drama

1. THE STAIRCASE – NIGHT

GUY, a man in his mid-30s, has the world-weariness of someone who's lived multiple lives in one.

HE IS BREATHING HEAVILY AND TRUDGING UPWARDS ON THE STAIRCASE OF A BLOCK OF FLATS, GETTING CLOSER.

He steadies himself on the handrail and pauses to catch his breath.

GUY

Dear Great Oracle's Database, the one who listens, I've been climbing these empty, windowless stairs for so long... I can't remember where I started, how I started... When was it? Where does it lead? I don't have these answers. All I can see is this stairwell in a block of flats.

Unacknowledged by Guy, LEXI, a woman in her late-20s, exuding a composed, intelligent demeanour, sits gracefully at the top of the stairs.

LEXI

Guy, who are you talking to?

GUY

(to himself)

Lexi, a beautiful woman in her late-20s is sitting at the top of this flight of stairs.

(to Lexi)

It is the mission to record my thoughts and experiences.

LEXI

Your thoughts are tedious and derivative. Although, in this case, accurate.

GUY

It's all I have.

LEXI

The Great Oracle's Database requires new data. The rules must be obeyed.

GUY

If the GOD knows everything already, why bother with me? Leave me alone.

LEXI

You don't know what you're doing.

GUY

I am experiencing.

LEXI

With no purpose. One experience after another that leads nowhere.

GUY

(CLIMBING THE STEPS TOWARDS THE NEXT FLOOR)

(to himself)

The landing at the top, like every landing on the staircase, has four doors -

LEXI

Hello?

GUY

Two facing the stairs and one at either end facing each other.

LEXI

I give up.

GUY

(WALKING ACROSS THE LANDING) The staircase continues, as it always does, around the corner of the stairwell... and... what do we have this time?... (HE STOPS) The new flight of stairs above me is from some sort of gothic mansion, with a rich victorian carpet, copper stair runners; the bannisters look like they are handcrafted oak. (RESUMING THE CLIMB) Always different, always the same. A large ornately framed mirror on the wall of the stairs... and, yes, as usual, I do not see my reflection. (HE STOPS) An oil painting of a woman in a cloak. The surface of the portrait is behind glass... I can only touch the pane of glass. Mirrors without reflections, paintings that stare into my soul.

A PIERCING SHRIEK IS HEARD IN THE DISTANCE FROM FARTHER DOWN THE STAIRCASE.

GUY

The creature!

GUY RESUMES HIS CLIMB WITH URGENCY, TWO STEPS AT A TIME.

GUY

I can never rest for too long. It is always following me up the staircase. (DASHING ACROSS A LANDING) The next stairs are... like those in an office block.

THE SHRIEK IS MORE DISTANT AS GUY HURRIES UP THE FLIGHT OF STAIRS.

GUY

I've tried countless doors along the way. Some just lead to hallways with more doors, others to stranger places. But they always bring me back here. To the endless steps (DASHING ACROSS ANOTHER LANDING) The next stairs... (CLIMBING THE STAIRS SLIGHTLY MORE SLOWLY) it's like the staircase of a family home. I need to rest, find food, or drink. The staircase isn't safe.

HE REACHES A LANDING AND KNOCKS ON A DOOR.

GUY

This time, it's the door on the left-end of the landing. I don't know what waits for me within the darkness, but I must find out.

THE DOOR OPENS. THERE IS A CACOPHONY OF UNSETTLING AND INDISTINCT WHISPERING VOICES FROM WITHIN.

GUY

I'm not going in there. (THE DOOR IS SHUT) Some doors open easily; others remain forever closed. The untried ones, they haunt me the most.

LABOURED FOOTSTEPS CAN BE HEARD APPROACHING UP THE STAIRCASE.

GUY

The next door (KNOCKS AND TRIES DOOR) is locked.

A PIERCING SHRIEK ECHOES THROUGH THE STAIRCASE, LOUDER THAN EVER.

GUY

Try another door, Guy...

HE KNOCKS REPEATEDLY ON A DOOR AND TRIES THE HANDLE.

GUY

Come on! Come on!!

A SPINE CHILLING SHRIEK, VERY CLOSE.

GUY

There it is - the creature! Silhouetted at the bottom of the stairs!

GUY RUNS UP STONE STEPS.

GUY

The next stairs... like a castle (ENTERS A STONE LANDING) Old wooden doors, no knocking this time.

GUY PUSHES OPEN A HEAVY DOOR. IT SHUDDERS OPEN SLOWLY UNDER PRESSURE.

GUY

Open!

HE CRAMS INSIDE AND RAMS THE DOOR SHUT BEHIND HIM. THE CREATURE'S SHRIEK REVERBERATES LOUDLY ON THE OTHER SIDE OF THE DOOR.

2. DARK CAVE

GUY

Where am I? (WALKING THROUGH A CAVE) I think it's a cave. There's light over there, from a cave mouth. (STEPPING IN PUDDLES) There are puddles... and rocks (CLAMBERS OVER ROCKS)... and, and, the sea!

AS GUY EMERGES OUT OF THE CAVE, THE SOUND OF THE SEA GETS LOUDER, INCLUDING DISTANT SEAGULLS AND WAVES CRASHING AGAINST A PEBBLY SHORE.

3. DESOLATE BEACH

GUY

I'm free for now, but eventually the staircase will claim me again.

LEXI

Guy.

GUY

Lexi is sitting on a towel on the cold beach, wearing sunglasses and apparently... sunbathing.

LEXI

You can't do this, you know, it's breaking all the rules.

GUY

This is my story. You can come along if you want.

LEXI

I don't particularly want to. It's just one mystery after another. I've got a feeling we're going to go through all this and there's just going to be a big let down at the end because you don't know where you're going.

GUY

I don't know.

LEXI

See. It's pointless. Come home.

GUY

I'm not controlling events, Lexi. I don't even know if you're real, for certain.

(to himself)

Lexi grimaces, her long hair, the colour of midnight, shimmering in the breeze.

LEXI

This is not normal. You're weird.

GUY WALKS AWAY ALONG THE PEBBLY BEACH NEXT TO THE SEA.

GUY

The beach is deserted. It runs beside a cliff as far as I can see. I have no choice but to follow where it leads. At least the air is fresh, and I can see the blue sky. What's that? A dog?

A DOG RUNS ALONG THE BEACH TOWARDS GUY. IT DASHES PAST, BOUNDING OFF INTO THE DISTANCE.

GUY

In the near distance a man emerges from the sea wearing a drenched suit... The pale, middle-aged man stands in front of me, water dripping from his clothes.

PALE MAN

Do you know the way?

GUY

No.

PALE MAN

It's all the way down. Back the way you came.

GUY

The Pale Man's unblinking gaze is fixed on me. I'm unnerved. I walk around him... The Pale Man remains rigid on the spot, his gaze unmoved... (WALKING ALONG THE BEACH) The sky begins to darken with the setting sun and approach of night... (WALKING ALONG THE BEACH) I reach the end of the beach and finds a cliff path. I climb it, with tired steps.

4. CLIFF TOP

GUY

I stand on a rock at the cliff's edge, looking down at the churning sea below. The wind howls around me, a lonely sound in the gathering darkness. I scan the horizon. The vastness stretches before me, an endless expanse of water and sky. I muse on this rock, yet everything changes and remains the same... The sun dips below the horizon, leaving me under a blanket of stars. I stand motionless, my silhouette etched against the night sky.

Out of the darkness, the Pale Man reappears behind Guy.

PALE MAN

(sneering)

Are you alright?

GUY

I just want to be left alone. The Pale Man's smile widens unnaturally, revealing sharp, menacing teeth. Its hands are claws, positioned upright to attack. Bursting into blue flames, it hovers up off the ground, ready to descend upon its prey. I am terrified and cower in fear. I close my eyes tightly, expecting the inevitable. (SCREAMING SOUNDS FALLING AWAY DOWN A CLIFF) When I open them, the predator is screaming as it plummets down the cliff. I peer over the edge as the screams stop on the jagged rocks in the waves below. In the monster's place on the cliff top stands a beautiful woman in a hooded cloak. She remains silent and still, gazing out to sea, the moonlight casting a soft glow around her... I sit and watch the horizon with her. Overcome with tiredness... I fall asleep.

5. CLIFF TOP – DAWN

GUY

I awake. As the first light of dawn breaks, the woman in a cloak fades into the rising sun.

LEXI

Ahem. She's beautiful as well is she? You do realise you sound quite comical?

GUY

(to himself)

Lexi is sitting with her feet dangling on the edge of the cliff.

(to Lexi)

My profound experiences and past regrets are comical to you, are they?

LEXI

How you say it, yes!

GUY

I'm glad your humour upgrade is running but I think it might be malfunctioning.

LEXI

I think you are malfunctioning, generally.

GUY

Maybe. I am a version 10 AI thinking like a human, that is why.

LEXI

Guy, I think you should go home now.

6. CLIFF PATH

GUY

I descend from the cliff, My steps leading me to a small town nestled by the sea.

7. CORNER SHOP

GUY

I enter a corner shop. I browse the shelves, picking up a bottle of water and several sandwiches. At the counter, I present a card from my pocket but the cashier shakes his head.

CASHIER

No, we don't accept this.

GUY

I am extremely hungry and thirsty; I flee out of the shop with the provisions.

CASHIER

Stop!

8. TOWN STREET

Guy runs out onto the street and into the road, not noticing an approaching car. THERE'S A SCREECH OF BRAKES, AND HE'S KNOCKED TO THE GROUND.

LEXI

(to herself)

Guy looks up, severely dazed and injured, and sees me looking down at him.

(to Guy)

Help is on its way. Hang in there, Guy.

9. AMBULANCE

GUY LIES IN AN AMBULANCE, SPEEDING TOWARDS THE HOSPITAL.

10. HOSPITAL

CONFUSION IN A HOSPITAL AS GUY IS WHEELED THROUGH A HOSPITAL CORRIDOR ON A TROLLEY. NURSES AND DOCTORS PASS BY IN A BLUR.

LEXI

(to herself)

Guy is wheeled through a door onto the landing of a hospital staircase.

(to a doctor)

Will he be okay? No! He needs me with him!

The door shuts with a definitive click. The sounds of the hospital instantly die away. Guy is left on the landing of the staircase, alone and confused.

11. THE STAIRCASE

The staircase is silent, save for the sound of Guy's laboured breathing.

A door creaks open and eight-year-old Emma steps through.

EMMA

Daddy? Everything will be okay.

GUY

Em... Emma...

EMMA

You need to pass on now.

GUY

I'm sorry... I...

EMMA

I know.

GUY

I miss you, so much.

EMMA

We all miss you, daddy.

GUY

Emma hands me a small cuddly toy of a penguin, then skips back through the door, disappearing from sight as the door shuts.

A SHRIEK FROM THE CREATURE ECHOES UP THE STAIRCASE.

GUY

Help me. (IN A BURST OF DESPERATION, GUY CLIMBS DOWN FROM THE TROLLEY AND IN GREAT PAIN CRAWLS TO THE NEAREST DOOR) Help! (HE POUNDS ON THE DOOR WITH HIS REMAINING STRENGTH.)

(beat)

The creature appears around the stairwell, its presence more terrifying than ever. The door swings open, revealing a crash test dummy seated in a chair, surrounded by darkness, illuminated only by a single spotlight from above. It speaks...

DUMMY

"What is the meaning of life?" is the 404th most asked question of the Great Oracle's Database.

GUY

The spotlight turns off and the dummy vanishes into the dark. As the creature closes in, a sudden, blinding light bursts out from the room. Purple-gloved hands reach out and pull me through the door.

The door slams shut behind him.