Psychic Terror, Essay Example

Intr. Television studio – time irrelevant, since indoors

Workers in a television studio are busily preparing the final stages for the live broadcast of a television program. We see various workers being placed into position behind cameras, a make-up artist placing the final touches upon the host of the television program, another assistant placing the microphone upon the host of the program. Other workers are making the last manipulations on the lightning according to a director’s instructions, sitting prominently in a chair. The host of the television program, the psychic Fabio Damascus Jr., is already seated behind the desk from where he transmits his broadcast. Damascus Jr. is dressed in a flamboyant style, wearing an absurd multi-colored robe, with a long mane of silver-blond hair that is almost horrific in its degree of kitsch and camp.

Int. A shot of the studio and the host, taking the perspective of a viewer watching the program on television

The host of the program, Fabio Damascus Jr., introduces his television program. He is a well-known television psychic, accustomed to answering typical questions from his callers through telephone, such as health, love life, economic situation and the future of family members. Damascus Jr. introduces his program, the title of the program (“Astrovisions with Fabio Damascus Jr.”), as well as himself, Fabio Damascus Jr., the host of the program. Damascus Jr. states some opening words of wisdom, (quasi-)esoteric in character, showing the intent of the program, as well as his familiarity with his audience.

“Ladies and gentlemen, by devoted viewers and my devoted compatriots, welcome, I greet you with the most open of arms, to another edition of “ASTROVISIONS”, with your humble servant, your guide into paranormals words unknown, one, yes one, Fabio Damascus Jr., the most submissive of servants to that which is commonly known as destiny, the gods, the future, the irreconcilable crush of time which we try to reconcile with our own forms of humility.”

After the introduction, Damascus Jr. draws a deck of tarot cards from the pocket of his long cloak, after his introductory speech, thus indicating that he is about to address the questions of callers. Damascus Jr. then states,

“We have very little time to waste, for our entire enterprise is based on an understanding of time – of how it flows and moves, of how it anticipates and ultimately creates distress in our lives. My aim, as host, is to guide you through these times, through this flux of time – not to provide you the definitive statement of what will occur, since, I am only a human as are you, but rather to provide, through my gift, an insight into what may be, so that you may be steadfast, prepared, resolute against that which fate and the gods prepare for you. Now, may we take the first call. Sir or lady, this be Fabio Damascus Jr. continue to communicate with me, continue with your trauma, distress, or concern, that which you wish to know, I shall attempt to guide…”

Int. – the behind the scenes television studio of “astrovisions.”

Various workers, directors, producers, editors, etc., watch Damascus Jr. on the monitor. We see them drinking coffee from Styrofoam cups, a typical scene of workers in a t.v. station. Over their shoulders, we see the studio shots of Damascus Jr. behind his desk, speaking with callers who have called into his program. So as to indicate the passage of time and that many callers have seen, we see the workers doing mundane things, such as smoking or spitting into a garbage can. The workers are silent in the studio. The camera takes different angles of the behind the scenes place of the workers, further indicating the passage of time. The only dialogue at this point is various snippets of Damascus Jr. talking to callers, various callers asking questions about their love life or economic situation, with the occasional word from the director of the show, who, for example, says “close-up” or other directorial terms, although we only see this from the perspective of the behind the scenes studio.

Int. A shot of the studio and the host, taking the perspective of a viewer watching the program on television

Damascus Jr. speaks, inviting his next caller. We are now watching the television show itself, as though we were viewers watching the program at home and anticipating the next call. Damascus Jr., having invited the caller to speak, is immediately confronted by silence. He therefore repeats his greetings, asking the caller on the other end of the line to speak and express his or her concerns. There is another pause, for a few seconds, and then a voice speaks in a Middle Eastern accent, saying hello. Damascus Jr. prompts the caller to reveal more, asking him what his specific question is. The caller then responds, asking cryptic questions to Damascus Jr. about the meaning of life. Damascus Jr., being used to trivial questions about love lives and economic situations, is somewhat set aback by the serious tone of the man’s voice. His facial gestures explain that he has already grasped that this is not a call like a regular call there is something different about this call. The caller then cites some words of ancient wisdom, citing perhaps a verse from the Qu’ran, asking Damascus Jr. the question if he understands what this particular verse, about life and death, means. Damascus Jr. is somewhat put aback by the question, he pauses in silence, once again re-iterating the point that this is a call that is not like any other telephone call.

Int. Working place of the television studio:

The shot returns to the studio where the director and other workers are working. The director of the program thinks that this is a crank call and suggests to Damascus Jr. over the earpiece that connects the director to the host to terminate the call. Damascus Jr., however, continues to dialogue with the man.

Int. Damascus jr.’s studio set

We are now engaged in the dialogue between Damascus Jr. and the caller: this is a critical moment. The caller, after various cryptic philosophical and theological remarks and questions, then tells Damascus Jr. bluntly that he has highjacked a plane. He furthermore remarks that his intent is to crash the plane into a famous American landmark. Damascus Jr. is shocked by this remark, however he suspects that this is not a crank call: this is clear by his voice and gestures, which become more meek and soft-spoken, as though he had suddenly transformed into a police negotiator, attempting to prevent someone from committing suicide or taking unnecessary life. Damascus Jr., at the same time, does not believe what he has heard and asks the caller to repeat his statement. The caller repeats his highjacking intent.

Int. Television working studio

We once again see the director’s of the television studio, now speaking to Damascus Jr. through an earpiece. They once again try to get him to terminate the call, sensing that this is a crank call, but in the same tone of their voice, the viewer grasps perhaps that this call is all too real, and they do not want to deal with the harshness of the reality. We see on the monitors that the directors use that Damascus Jr. continues speaking with the man, oblivious to the commands of the directors.

Int. Damascus’ television set

Damascus Jr. senses the reality of the situation. He now understands that perhaps the situation is real and not a crank call, owing to the man’s seriousness and the content of his conversation, which is filled with philosophical and theological references. Damascus Jr. responds to these remarks, and the dialogue takes a form of a philosophical dual concerning life and death, politics and the contemporary situation in the world politics. Damascus Jr. asks the man to re-consider what he is doing, at the last moment, but the caller states emphatically that he is convinced in the righteousness of his ways. We hear the voices of the director over Damascus Jr’s earpiece, urging him to terminate the call. The caller has the final words, citing a famous Persian philosopher about life and death. The camera shows Damascus Jr., shocked, unable to answer to these words.

Documentary footage

The next scene is a news footage scene of the terrorist attacks of 9-11, the planes crashing into the World Trade Center. We understand that despite the absurdity of the t.v. psychic format, that sometimes reality intrudes into fantasy, even when fantasy pretends that it offers a deeper look into reality and the future.