Priestess Itfut

“Okay, okay. I’m really scared now; I couldn’t be any more scared. So, if things can’t get any worse, then that’s good – they’re about to get better. But I’ve seriously had enough of all this. My fear is now separate from me, and I am separate from it. I don’t want to be with it anymore. I’m going and leaving my fear in my shoes. They’re no good here anyway. Away, away, get away from me!” The priestess kicked off her shoes and flung them straight into the whirlwind.

“That’s it. I’ve gone and I’ve left my fear here!”

The shoes disappeared into the whirlwind which twisted even more powerfully now with an increasing roar.

’This is bad,’ thought Itfut. ‘I need to take more effective measures otherwise this is not going to end well.’

“Right, Itfut, Itfut, priestess, priestess, you need to see this damn reality, work out what it is, or this is the end. This isn’t just sand and that isn’t just any old whirlwind. What is it? Think, quickly, quickly now, hurry, hurry!”

And then it dawned on her.

“It’s a sand-timer!” she exclaimed. “It’s a sand-timer! I see you, devilish reality!”

In that moment, the whirlwind stopped twisting, the roar was replaced with a glassy chime, and the gigantic funnel came crashing to the ground. The sand acquired a natural yellow color, and the sky shone blue again. The sun was the one thing still absent from the sky.

Synthetic Maid

At the same time but in a different era and in a different place…

How it is possible for something to be ‘at the same time but in a different era’ – we will explain later. Movement through time and space is not always linear, at least within the limits of what can be seen and understood. And just because something lies beyond the limits of our comprehension does not mean that it does not exist.

In order to move from the point in time and space where we left priestess Itfut to the new place of action, the observer is required to undertake a rather elaborate journey.

Imagine that you are flying up through the sky. Itfut transforms from a figure on the sand to a tiny speck. The earth appears to move further and further away until it resembles the lines on a map, and you are lifted higher and higher until eventually, the blue of the sky is replaced by the black of the cosmos.

Now you are flying through the black abyss, but it is not dark because of the stars and Earth is still visible like a blue ball moving away in the distance. And soon Earth is nothing more than a dot and your movement is no longer visible. There comes a point when you are frozen in this position, surrounded by stars in the blackness, nothing but stars.

Then, one of those stars suddenly transforms into a tube. It draws you inside a glowing tunnel, pulling you through it for what feels like an infinity and at the same time you are travelling incredibly fast.

Finally, the speed slows down, you are pushed out of the other end of the tube and again find yourself floating in black space filled with stars. One star begins to increase in size, and you realize that you are no longer hanging there suspended, you are moving.

Then the star transforms into a ball which gradually expands before you into a blue planet. It is the Earth but in a different epoch. You enter the Earth’s atmosphere and blackness is replaced by blueness; it is as if you are drowning, falling through the clouds. You find yourself floating in a gray fog for a while before being plunged back into darkness this time because, in this epoch, the sun has already set.

Below you can see the lights of the city at night. You plane downwards drawing ever closer to the flickering lights. You fly across motorways with cars whizzing past, squares filled with people, rivers, bridges, luminous apartment blocks, houses, until finally, you dart in through a random window.

Now we can say that it is the same time only we are in a different epoch and a different place, specifically a theater, in which a film is being made of the musical ‘Finished Clown’.

Why a clown and in what way ‘finished’? Finished as in passed away or finished in the sense of hopeless, incorrigible, done-for? The film crew did not appear to know either as they were still in the so-called ‘creative process’.

The auditorium was immersed in half-light. Abandoned belongings and coats lay thrown across chairs. A handful of people were sitting in the auditorium, one dozing and another staring at the brightly lit stage, where theatre types rushed about busy preparing for a rehearsal. The stage was set up as a semi-cylindrical transformer with images and lighting effects projected onto the floor and walls.

The director was standing in the middle of the stage, an emotional figure cursing wildly.

“It won’t do. None of you will do! Are we shooting a musical or a funeral? Get lost, fools! Get lost! Come back different!” What he meant by this and in what way they should return different, the director did not bother to explain. But the members of the film crew, a motley crowd dressed up to the nines, were not going to hang about to find out and fled in all directions.

“Right, where is my diva? She’s the only one who inspires me. Bring me my diva! Max, will she be long?” he asked turning to his operator. “Go and find out.”

The operator ran behind the wings and quickly returned. Max was a young man with a stutter, and he had the habit of taking a long time to prepare before saying anything:

“Victor, we… We-e…”

“We what? Who we are and what we are is a complex philosophical question. Spit it out!”

“Matilda is being difficult again.” Max finally managed to say.

“Just get her here!” yelled Victor (which was what they called the director) in an intimidating voice.

“Victor!” A woman’s voice could be heard behind the wings. “Here she is, I’m here!” Following on from the voice the woman herself appeared. The instantly created the impression of being a highly eccentric individual dressed as she was in a dark-green jumpsuit and huge pink platforms, as well as donning a shock of light-blue hair strewn with light-purple highlights. You could say she was a ‘blue blonde’.

“Come here, Tili, my darling, my angel!” Victor approached the eccentric woman throwing his arms wide open. “Ok, turn around. Aren’t you beautiful!” and abruptly changing the tone of his voice, he said, “What are you doing here still not made up! Skedaddle back to the dressing room, quick!”

“I don’t want to. It takes so lo-o-o-ong!” Matilda had the habit of extending her vowels. “It’s only a rehearsal anyway!”

“I’m the one who decides whether it’s a rehearsal or a film shoot. Get out of my sight!”

“I want a sweet! You promised me chocolate-coated cherries.”

“What a b…” Max stuttered, trying to join the conversation. “B, b…”

“You’re saying I have such a beautiful what? Hurry up!”

“What a banal choice – chocolate-coated cherries!” said Max, finally managing to finish his sentence.

“Oooh, but I want some!”

“Diva, you know the rules. If you don’t do a take, you don’t get a treat,” said Victor. “Do it, and you’ll have your treat. Now get lost all of you! No, wait, let’s rehearse your curtsy again.”

Matilda stepped to one side and gave an affected curtsy.

“Oh, how vulgar!” shouted Victor. “Come on, again. Do it as you were taught to, hands to the chest and… not on the chest, to the chest, and with feeling, with dignity! It should be light, not buffoon-like! What am I going to do with her? That’s it, get out of here, you monster, or I’ll shoot you myself!”

Matilda turned on her platforms and was about to make a run for it.

“No! Stop! Tili, darling! Come back here!”

Matilda turned again and waited expectantly.

“Sometimes, you say something, out of the mouth of a babe. Seriously, what would be the best dance to use in this shot, street or house?”

“It needs the twist. The twist is what’s needed.” the diva answered him.

“What, what, what? Why?”

“Because all your go-go and R&B totally sucks. It’s all old hat.”

“What? What? What do you mean, old hat, it’s contemporary dance.”

“Because it’s all so boring! Boring – that’s why!”