Flick and Jube
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Flick and Jube
Flick and Jube break out from their mundane world and find themselves on a journey of exploration through nature and psyche that is both exhilarating and terrifying as they try to comprehend their new found power.
Learning how to levitate through the bond of their union, they drain energy from the Universal Flow, creating an opening for the Flows passage to the material world. But an opening such as this can be a blessing and a curse since a door, once opened, can be passed through in either direction and power can be drained away.
Their fragile bond is constantly at risk of being destroyed and there is one person who knows this… Flicks former boss. All he has to do now is to seduce Jube and save the world.
Go out looking for Nirvana and you end up in Hell
Story: Simon Mackie and Matthew Stokoe
Art : Simon Mackie
Simon Mackie is a UK based illustrator who draws underground comic strips and CD covers. He has exhibited in London and Tokyo.
Matthew Stokoe has written the Novels Cows and High Life and the screenplay for the film Dog. He is currently working on his third novel.
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Flick and Jube Character Notes
FLICK AND JUBE
Both early twenties. Two halves of a whole, complements, soulmates. Fellow
travellers through an imperfectly comprehended confluence of social forces, where
events are often confusing and order and design are sometimes prey to more
primitive currents - to collective-unconscious longings.
Flick - face weathered by unresolved internal conflicts, eyes set beyond the
horizon, searching for something he is sure must exist, if only he could see past the
mundanity of his environment - stands slight and less tall than some, head thrust
forward and gut tightened against the winds of life. A joker, a naive dreamer,
preoccupied with internal dialogue, scruffy failed ascetic, though with faith
enough to continue searching for some vague, only intuitively recognised truth
that taunts him incessantly with its challenge of definition - spiritual hide and
seek.
To this swarthy, dark-haired hero of his own odyssey, born of the working class,
routine and duty are distasteful constraints to the progression of the individual -
forces to be complied with only when entirely necessary. If a person is the
manifestation of a question. Flick's question as he surveys life is: “Is this all there
is?”. It is the belief that the answer is negative that sustains him, that justifies
and fuels his eventual departure from conventional “9 to 5” life patterns. Flick's
sympathies and identities lie beyond these dominant value systems, and, of
necessity, he experiences life-interaction on a level different to that of the masses;
the level of outcasts, of the rejected and the rejectors.
Social graces, in the absolute scheme of things, are, to Flick, extraneous
affectations that lend nothing to the searching purpose of life. As a result, while
not intentionally offensive, Flick may appear somewhat uncouth - he eats messily,
he is often unshaven, his jokes fall flat. These indelicacies are unimportant - what
is important is the bedrock of integrity that supports this character. He does not
wear his quest for knowledge like the latest fashion badge - to him it is simply an
unquestioned obligation of existence.
Jube is in many ways the opposite of Flick, and it is only by virtue of this fact that
she is truly his complement. She is pragmatic, more sighted on the socially
approved goals of money, success, personal aggrandizement. Where Flick's drive
is essentially internal, Jube's is external - outward looking, attention seeking.
One gets the impression that she possesses a degree of venality - it is well hidden,
but there nonetheless.
Blonde hair around delicate North European features and pale, pale skin; she
calculates the potential personal advantages of situations before she acts - but
when she does act it is with determination.
Life is not seen by Jube as some infinite continuum extending beyond death, but
rather as a finite collection of instants and events, each to be exploited, none
containing hidden meaning. She is shrewd and by no means stupid but, either
through lack of capacity or lack of motivation, is less cerebral than Flick. The
soul-searching that at times tortures him is unknown to her. Jube's question of
life is: “How much do I get and when do I get it?” In unkind terms, she is looking
for the main chance.
This desire to succeed is sometimes at odds with her relationship with Flick - it is a
certainty that material rewards in greater amount would result through
attachments with any number of other men - but the unspoken intensity of the
love they share ameliorates this potentially unpleasant character trait.
Flick and Jube are devoted, each in some way necessary to the goals of the other.
Against the world their weapons are youth and a intuitive realisation of the
completeness they possess. Apart they are nothing, together they are enormous,
their horizons unlimited.
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Roland Delancy
Early thirties. The “Golden Boy”. To all appearances he has everything:
independent wealth, expensive education, high position. He is beautifully built,
handsome, tall, intelligent, tanned, blond, decisive. He dresses exquisitely,
though without ostentation - his taste is faultless.
Look deeper though, deeper than he allows, beyond this polished and tailored
front, and it is possible to detect a profound underlying current of dissatisfaction -
an unhappiness of the soul that robs his possessions and advantages of their
pleasure.
Roland is obsessed with Tibetan mysticism - the result partly of a childhood
infatuation with his Grandfather, Edgar, and partly of the recognition that a man
may be judged by higher standards than his worldly goods. In every unoccupied moment Roland feels acutely that he should be advancing himself on a spiritual
level - increasing karma, striving to progress along the path to enlightenment.
His tragedy, though, is that he is incapable of such progression, that he simply
does not have the ability. And it is the growing realisation of this fact that is the
source of his concealed unhappiness and frustration.
Roland is a solitary, somewhat lonely figure who, when he is not in his office,
spends his time studying Tibetan spiritual literature, dreaming of his
Grandfather and attempting unsuccessfully to meditate.
Roland's mind-set in all other areas is conventional and strictured - he lives
within the system, despises bohemian subculture and prides himself on self
discipline and moral rectitude.
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Jiff
Manager of the Quest occult bookshop. Late twenties. A tall, thin, corded,
whippet of a man. His eyes, behind John Lennon glasses, are glazed from a
thousand investigations into the occult - each one promising the universe, none of
them delivering. Long red hair held in a ponytail, mystic jewellry dripping from
fingers, wrists and earlobes. Wild, eternally optimistic, a guru bum vibed so far
out that to stay too long in his company is to risk psychic exhaustion. He is a
follower, no longer searching for a system of enlightenment, but for an individual
who will lead the way. He is closer to Flick than to Jube and is one of the few
people who can laugh at Flick's jokes.
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Chiaki
An oriental woman of severe, ascetic beauty. Age is indeterminable, anything
from thirty to forty. Her exact role is not explicitly clear. She serves Roland but is
not subservient. Is she factotum, adviser, teacher, companion? Her persona is
distant, didactic, strictured. Her sexuality is ambivalent, it is impossible to
determine if any degree of intimacy exists between Roland and this tranquil,
centred, mystery in a kimono
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Edgar
Thirty Eight. He appears in flashbacks to the 1930's. Roland's Grandfather. The quintessential Victorian gentleman explorer.Relaxed and confident in manner, deep thinking and sensitive, slim and handsome.
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Lobsang
Ageless. A Tibetan monk assigned as guide and instructor to Edgar. He radiates
peace, gentleness and contentment.
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Robin Hampshire
Late thirties. Young exec of Channel Six TV. A Southern gentleman; slender and
vain - cool oozes from every pore. When he looks up from his manicured nails and
tells you that he is, most definitely, sincere, you'd better believe it.
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Fred and Barney
Both forty. Hard-men, robots - twin parts of a single, ruthless machine -programmable: set and forget and they'll bring back his head. Agents of some obscure government agency - heavy crotched and sparking on blood.
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Doktor Krudorff
\r\nMid fifties. A vile human being - heavy, brooding, dark hair, thick eyebrows,\r\npermanently wet lips, oily skin. He wears thick-lensed black-framed glasses and\r\nhis eyes are dead.\r\n
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Gershfield
Late fifties. Patriarchal President of Quantach. Cigar-smoking, gold-encrusted
self-made man. Grey and balding. Wise, paternal and solid. All knowing superior who only fools would challenge
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Alia
Confident, mischievous and flirty. Although long time seperated from Flick, she is the mother of his child and a real threat to Jube
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