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beeksc1
14th February 2010, 08:08 AM
Comedy is one of my favorite forms (if not my favorite form) of art. Even though I cannot exactly put my finger on what makes me laugh, I realize that I have a healthy sense of humor. Searching for what makes me burst into laughter, I have red the book titled, Comedy Writing: Step by Step, which is authored by Gene Perret.

I have conducted some research on humor theory; nonetheless, I am curious to find out what elements of comedy make you laugh? What do you think make up the essential foundation in the art of comedy?

Shared bit:

“Visiting a friend at a local hospital, I was surprised when I came across an on site Wendy's. Do you find this odd? Isn't this like a dentist selling candy in the lobby of his office?”

PAC
14th February 2010, 08:19 AM
I like punishing humor

Skeptic
14th February 2010, 08:24 AM
I have conducted some research on humor theory;


http://www.intriguing.com/mp/_pictures/compdiff/ernestsc.jpg

beeksc1
14th February 2010, 08:33 AM
PAC, when I first heard that, I was amused; but, isn't that old hat? I appreciate the effort though.

Humor can be verbal, visual, or physical.

Root components of humor:

* appealing to intellect, not to emotions of feelings.
* reflecting reality, but not real.
* some surprise/misdirection, contradiction, ambiguity or paradox

A Tom Swifty (or Tom Swiftie) is a phrase, in which a quoted sentence is linked by a pun to the manner in which it is attributed.

"I just started to grow all my own food." Tom said greenly.

PAC
14th February 2010, 08:36 AM
It appears I opuned the door to that criticism.

Professor Yaffle
14th February 2010, 08:39 AM
I like particularly like jokes that take you a few seconds to get - eg Two parrots sitting on a perch. One says to the other, "Can you smell fish?"

Outside of the realm of "jokes" per se, I find it's often the performer as much as what they say that really makes comedy. Nobody could do The Office quite like Ricky Gervais - I found it totally changed its humour when it was remade in the US (even though it is still good) which led to a change in the way it was written in later series.

There is some research on humour in Richard Wiseman's book Quirkology.

http://www.laughlab.co.uk/

Walrus32
14th February 2010, 08:41 AM
"I just started to grow all my own food." Tom said greenly.

My all time favorite was, "My girl friend fell off my two seat bicycle", said Tom lackadaisically.

beeksc1
14th February 2010, 08:41 AM
It appears I opuned the door to that criticism.

You got me to smile and slightly chuckle on that one. Touché!

A pun is a form of word play that deliberately employs ambiguity between similar-sounding words for humorous intent or rhetorical effect.

Vortigern99
14th February 2010, 09:05 AM
I go for utter absurdity in my comedy -- think Monty Python, Conan O'Brien and David Cross/Mr. Show -- because of the surprise element. Absurd humor is infinitely unpredictable because it obeys no rules; hence infinitely funny.

Classic absurd Python bit [in which Michelangelo meets with the Pope]:

Michelangelo [Eric Idle]: Good evening, Your Holiness.
Pope [John Cleese]: Evening, Michelangelo. I want to talk to you about this painting of yours, The Last Supper. I'm not happy about it.
Michelangelo: Oh, dear. It took me hours.
Pope: Not happy at all.
Michelangelo: Is it the jello you don't like?
Pope: No.
Michelangelo: It does add a bit of colour, doesn't it. Oh, I know, you don't like the kangaroo.
Pope: What kangaroo?
Michelangelo: Err, no problem, I'll paint him out.
Pope: I never saw a kangaroo.
Michelangelo: Uh, he's right at the back. No sweat, I'll make him into a disciple. All right?
Pope: That's the problem.
Michelangelo: What is?
Pope: The disciples.
Michelangelo: Are they too Jewish? I made Judas the most Jewish.
Pope: No, it's just that there are 28 of them.

beeksc1
14th February 2010, 10:32 AM
I particularly like jokes that take a few seconds to [understand] - [example] Two parrots sitting on a perch. One says to the other, "Can you smell fish?"


It is descent; but, if a person is unaware of the fact that a perch is type of freshwater fish, he/she will not understand the joke. Sometimes, a set-up is absolutely necessary.


Outside of the realm of "jokes" per se, I find it's often the performer as much as what they say that really makes comedy.


I mostly agree. I agree with you in that it is not necessarily the gags that make for a "kill" performance; but, I slightly disagree with you in that - it is not particularly the performer, it is the precisely the delivery, the timing, and the rhythmic flow that gets the laughs.

yomero
14th February 2010, 11:06 AM
Originally Posted by Professor Yaffle
Outside of the realm of "jokes" per se, I find it's often the performer as much as what they say that really makes comedy.

__________________________________________________ ________________________

I agree. Last night I was reading the text of Abbot and Costello's "Who's on first" routine. It loses much of its humor if you just read it. Next, I watched it on youTube and it was as funny last night as when I first saw it.


l

Staropeace
14th February 2010, 11:28 AM
I like situation comedy in fiction. Dave Barry writes this well. Anyone read "Big Trouble"?

There is a scene where two very stupid criminals attempt to rob a bar. First they steal a pair of panty hose from a corner store to use as a disguise. One guys pretends to have a seizure while the second one steals the hose......which turn out to be colored black. He robs the bar virtually blind. It was some scene...very funny.

Professor Yaffle
14th February 2010, 11:35 AM
It is descent; but, if a person is unaware of the fact that a perch is type of freshwater fish, he/she will not understand the joke. Sometimes, a set-up is absolutely necessary.


Another one with the exact same form is a bit more obvious:

Two fish in a tank. One says to the other, "Do you know how to drive this thing?"

According to the Richard Wiseman research, the following is the world's funniest joke:


Two hunters are out in the woods when one of them collapses. He doesn't seem to be breathing and his eyes are glazed. The other guy whips out his phone and calls the emergency services. He gasps, "My friend is dead! What can I do?". The operator says "Calm down. I can help. First, let's make sure he's dead." There is a silence, then a shot is heard. Back on the phone, the guy says "OK, now what?"


I think the quest to find universally funny things usually just ends up with something fairly amusing, because what most people find the most funny will be different for different people. I know that the things I like most are things that a lot of people really hate (eg The Leauge of Gentlemen), and the most popular sitcoms in the UK are all ones that I detest.

JFrankA
14th February 2010, 12:00 PM
Here is my favorite joke.


A man who lives in New York City was clearly the nicest, most giving person the history of human beings. God watch this man for years and decided that this man was deserving of something wonderful. So God came down and approached the man and explained to him that he has been so good in his life, he gets one wish.

The man is stunned but very happy. He thinks for a moment and says to God, "Look, I know this is going to sound weird, but, well, I love to drive. And I also love Hawaii. What I would like is a highway that goes from New York City straight to Hawaii, with rest stops and such, so I can drive to Hawaii whenever I'd like."

God looked at him for a moment, thought a bit and replied, "Well. Uhmm.. Okay. Let me think. First of all, I might have to change the way concrete works, which means that might have to change some of the physics of subatomic particles...still...that much concrete would mean that the Earth would be more massive....it would change the orbit of the Earth so I might have to mess with movement physics and maybe change the way the Earth goes around the sun...oooh that would mean I'd have to change gravity. It would need a complete overhaul because a change in physics that way would change....hmmmm. Look. I can do it. It'll be hard, but I can do it. But let me ask you this though, is there anything else you may want?"

The man thought a moment and said, "Well, I'd love to understand women."

So God says "Do you want two or four lanes?"

I absolutely love that joke. But for some reason, when I tell it, women around just give me this angry glare......

soylent
14th February 2010, 12:36 PM
I particularly like unintentional irony, deadpan and black humour.

History is a rich vein of comedy; particularly the Soviet union. E.g. there is something immensly funny about Lenin wanting to keep one little country capitalist when communism has taken over the world just so their central planners could see what the prices looked like and copy them; or quotes from some prominent keynesian economist(can't remember who) describing as the biggest dilemma of our time whether the political oppression of the Soviet union is a worthwhile trade-off for the glorious economic growth(what did GDP even mean when it's just arbitary prices paid for goods that represent the arbitrary decisions of the central planners rather than the consumer? They barely had freaking toilet paper).

The Man
14th February 2010, 12:51 PM
Originally Posted by Professor Yaffle
Outside of the realm of "jokes" per se, I find it's often the performer as much as what they say that really makes comedy.

__________________________________________________ ________________________

I agree. Last night I was reading the text of Abbot and Costello's "Who's on first" routine. It loses much of its humor if you just read it. Next, I watched it on youTube and it was as funny last night as when I first saw it.


l

One of my favorite routines of theirs, that I try to use whenever I can, is the herd of deer bit.


You: I watched this flock of deer walk by my house the other day.

Other person: It’s a herd of deer not a flock.

You: What?

Other person: Herd not flock.

You: What?

Other person: Herd, herd of deer!

You: Well of course I’ve heard of deer, that’s what the storie's about.


The best comedy is live and often in real life, part of it can be playing the fool or the straight man yourself and one of the best parts is when someone realizes that they have been unknowingly playing your straight man right on cue.

Wudang
14th February 2010, 01:01 PM
Outside of the realm of "jokes" per se, I find it's often the performer as much as what they say that really makes comedy.

Absolutely. I can tell a good joke but my friend Nick Revell (a comedian) can leave me in pain gasping for breath. The first time I realised the difference was the first time I saw the late great Chic Murray. A sample
8CFgaNSJe_w

Skeptic
14th February 2010, 02:03 PM
A man sees another man wanting to jump off a bridge.

-Why do you want to die?
-Because nobody appreciates me!
-What do you mean?
-You see the building over there?
-Yes.
-I built it! Now, does anybody go around saying, 'There goes Jones, the great architect?'
-No?
-No! You see the hospital over there?
-Yes.
-I gave the money to build it! So, does anybody say, 'There goes Jones, the philanthropist'?
-No?
-No!
-Look, with such achievements, you must be known for something...
-That's what I want to jump!
-I don't understand.
-Well, two years ago I sucked one, small, miserable little cock, and now everybody says...

Elizabeth I
14th February 2010, 03:07 PM
"You stole my gold mine!" Tom claimed jumpily.

dafydd
14th February 2010, 11:33 PM
Absolutely. I can tell a good joke but my friend Nick Revell (a comedian) can leave me in pain gasping for breath. The first time I realised the difference was the first time I saw the late great Chic Murray. A sample
8CFgaNSJe_w

Chic Murray,here's one of his jokes.

I went to the Olympic games and I saw a man carrying a long stick.I said "Are yoiu a pole vaulter?" he replied "No,I am German but how did you know that my name was Valter?"

blobru
14th February 2010, 11:59 PM
In print, I tend to go for the juxtaposition of solemnity and vulgarity, Rabelaisian wit: a gassy pompous priest, that sort of thing; but visually, for sheer bust-a-gut laughter, for me there's nothing funnier than slapstick (Chaplin & Keaton in Limelight (http://www.youtube.com/watch?v=ZUpiD8vEw2Y)):

ZUpiD8vEw2Y

novice skeptic
15th February 2010, 07:30 AM
In print, I tend to go for the juxtaposition of solemnity and vulgarity, Rabelaisian wit: a gassy pompous priest, that sort of thing; but visually, for sheer bust-a-gut laughter, for me there's nothing funnier than slapstick (Chaplin & Keaton in Limelight (http://www.youtube.com/watch?v=ZUpiD8vEw2Y)):

ZUpiD8vEw2Y

Is that a pretentious way of saying you like fart jokes?

fuelair
15th February 2010, 08:52 AM
You got me to smile and slightly chuckle on that one. Touché!

A pun is a form of word play that deliberately employs ambiguity between similar-sounding words for humorous intent or rhetorical effect.

Original version of that one: King's jester does not please King because he uses puns, which the King loathes. The King has the jester thrown into a cell in the dungeon with a heavy door shut firmly. King comes to the door and sayeth: "You shall remain in that cell with only bread and water to keep you alive until you can make a pun upon your situation!"

The jester replies, "O pun the door!":D


I first saw that in print in the 50's, but have good reason to believe it is a good bit older.

JoeTheJuggler
15th February 2010, 08:56 AM
I think the one generality that's behind all forms of humor is an intersection of two (or more) different things--maybe expectations or frames of reference. With puns or irony, the two different ways of understanding are fairly evident. Even slapstick (you don't expect a person to slip and fall).

ETA: And vulgarity is a juxtaposition of social norms and the violation of them. A fart in a bathroom isn't funny the way a fart at a posh social event is.

As for puns and in particular Swifties, my favorite is:
"I'm honestly not sure how I feel about gay necrophilia," said Frank half in dead earnest.

fuelair
15th February 2010, 09:07 AM
A big rule:
A) The set up - you set up a situation the audience can follow with relative ease: Ricky and Lucy practice a dance that involves Lucy being quickly pulled into contact with Ricky. Ricky has to go to a meeting.

B) Set up continues- seperate action the audience etc. : Lucy and Ethel buy a large number of eggs (reason is not critical but involves chickens not laying and Fred).

C) Anticipation 1: Suddenly, Ricky's car drives back up! What to do with eggs they can't hide elsewhere? Put in clothes (they have jackets on)!

D)Anticipation 2: Ricky comes in, says meeting canceled so they can practice the dance. Does not take no for an answer. He and Lucy start to dance, whirling ,etc.

AND E) PAYOFF 1: Lucy is pulled into Ricky and the eggs smash, Lucy face, Ricky yell and Ethel starts for door (Anticipation 3)!

Followed by F)Secondary Payoff: Fred comes through door just as Ethel reaches it - Ethel's hidden eggs break - Ehtel face, Fred yell...............

Not only is this format a staple of sitcoms and certain other users of humor but it is one of the purest examples I have found of it - which I routinely use in discussions with students on humor in television.

One other I also use examples of a lot is the "meet cute".

fuelair
15th February 2010, 09:10 AM
I think the one generality that's behind all forms of humor is an intersection of two (or more) different things--maybe expectations or frames of reference. With puns or irony, the two different ways of understanding are fairly evident. Even slapstick (you don't expect a person to slip and fall).

ETA: And vulgarity is a juxtaposition of social norms and the violation of them. A fart in a bathroom isn't funny the way a fart at a posh social event is.

As for puns and in particular Swifties, my favorite is:
"I'm honestly not sure how I feel about gay necrophilia," said Frank half in dead earnest.

That is marvelous!!!!:D:D:D

fuelair
15th February 2010, 09:12 AM
I think the one generality that's behind all forms of humor is an intersection of two (or more) different things--maybe expectations or frames of reference. With puns or irony, the two different ways of understanding are fairly evident. Even slapstick (you don't expect a person to slip and fall).

ETA: And vulgarity is a juxtaposition of social norms and the violation of them. A fart in a bathroom isn't funny the way a fart at a posh social event is.

As for puns and in particular Swifties, my favorite is:
"I'm honestly not sure how I feel about gay necrophilia," said Frank half in dead earnest.

And, re: para 2 - though it has worked very well in the White Castle movie with the young ladies in the restroom stunt.

fleabeetle
15th February 2010, 02:54 PM
Original version of that one: King's jester does not please King because he uses puns, which the King loathes. The King has the jester thrown into a cell in the dungeon with a heavy door shut firmly. King comes to the door and sayeth: "You shall remain in that cell with only bread and water to keep you alive until you can make a pun upon your situation!"

The jester replies, "O pun the door!":D

I first saw that in print in the 50's, but have good reason to believe it is a good bit older.

Variation I've heard (I just like this jester-and-pun-hating-king scenario) -- jester, after repeated warnings, makes one pun too many, and king orders that he be hanged. It isn't done immediately; jester is thrown into prison to reflect on his folly and what it has brought him to. The king sleeps on his decision, and decides in the morning, to give the jester one more chance. Goes to his cell and tells him, "You've been a good jester, on the whole, and given me a lot of laughs; so I won't have you hanged after all -- so long as you never make another pun in my hearing."

Jester responds (he just can't stop himself), "No noose is good noose" -- and dies a happy man.

blobru
15th February 2010, 03:57 PM
A big rule:
A) The set up - you set up a situation the audience can follow with relative ease: Ricky and Lucy practice a dance that involves Lucy being quickly pulled into contact with Ricky. Ricky has to go to a meeting.

B) Set up continues- seperate action the audience etc. : Lucy and Ethel buy a large number of eggs (reason is not critical but involves chickens not laying and Fred).

C) Anticipation 1: Suddenly, Ricky's car drives back up! What to do with eggs they can't hide elsewhere? Put in clothes (they have jackets on)!

D)Anticipation 2: Ricky comes in, says meeting canceled so they can practice the dance. Does not take no for an answer. He and Lucy start to dance, whirling ,etc.

AND E) PAYOFF 1: Lucy is pulled into Ricky and the eggs smash, Lucy face, Ricky yell and Ethel starts for door (Anticipation 3)!

Followed by F)Secondary Payoff: Fred comes through door just as Ethel reaches it - Ethel's hidden eggs break - Ehtel face, Fred yell...............

Not only is this format a staple of sitcoms and certain other users of humor but it is one of the purest examples I have found of it - which I routinely use in discussions with students on humor in television.

One other I also use examples of a lot is the "meet cute".

I think the one generality that's behind all forms of humor is an intersection of two (or more) different things--maybe expectations or frames of reference. With puns or irony, the two different ways of understanding are fairly evident. Even slapstick (you don't expect a person to slip and fall).

ETA: And vulgarity is a juxtaposition of social norms and the violation of them. A fart in a bathroom isn't funny the way a fart at a posh social event is.

As for puns and in particular Swifties, my favorite is:
"I'm honestly not sure how I feel about gay necrophilia," said Frank half in dead earnest.

Good analyses. I agree with fuelair that set-up is crucial. It can be a bit like action-drama in that respect, or even a magic trick: complication upon complication until the big payoff -- in drama (or magic), how will the hero transcend seeming fate, and escape? -- in comedy, how will the hero not transcend, not escape, and yet survive? (which is one function of laughter, of course -- normalizing embarrassment).

Interesting that with some things we find funny, like someone out of the blue falling on his ass, there doesn't seem to be any set-up. But then one could argue that everything is in a sense potential set-up; that normal life is always humor waiting to happen, waiting for an unexpected shift of context, for someone to fall on his ass.

One of the joys of slapstick is that it knocks us on our butt, smears facile pretense with a pie in the face. Speaking of which...

Is that a pretentious way of saying you like fart jokes?

Pretentious? Ego? :shy:

As Lord Platypus was saying to me, by happenstance, whilst musing, as is his wont, on the subject of humourousness over Saint Valentine's weekend:

Joke's art? Debt, or blunder? Should I see each* for...
(*here he'd slipped into his native Australian brogue)
Blokes fart: better understood by CH4.

:spunhappy_green:on what planet was that funny?

Fnord
15th February 2010, 03:59 PM
There's one that starts, "A dyslexic man walks into a bra..." but I usually start laughing so hard right there that I never hear the punch line.

Pure Argent
15th February 2010, 04:07 PM
I like mine served up dry, with perhaps a bit of absurdist mixed in. See Monty Python and Terry Pratchett for further education. No one makes me laugh as hard as they do.

Howie Felterbush
15th February 2010, 04:15 PM
I think Mel Brooks said, "Tragedy is when I cut my finger, comedy is when you walk into an open manhole and die."

fuelair
15th February 2010, 07:44 PM
For the interested in dirty jokes/equivalent, I cannot serve you better than to suggest Gershon Legman's Rationale of the Dirty Joke and it's sequel, No Laughing Matter.

https://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=Rationale+of+the+Dirty+Joke&x=18&y=17

FSM
15th February 2010, 07:45 PM
The best.


kpTJywtAqLc

UNLoVedRebel
15th February 2010, 08:44 PM
Comedy is one of my favorite forms (if not my favorite form) of art. Even though I cannot exactly put my finger on what makes me laugh, I realize that I have a healthy sense of humor. Searching for what makes me burst into laughter, I have red the book titled, Comedy Writing: Step by Step, which is authored by Gene Perret.

I have conducted some research on humor theory; nonetheless, I am curious to find out what elements of comedy make you laugh? What do you think make up the essential foundation in the art of comedy?

Shared bit:

“Visiting a friend at a local hospital, I was surprised when I came across an on site Wendy's. Do you find this odd? Isn't this like a dentist selling candy in the lobby of his office?”

NO WAY. This is Crazy!!!!!!!!!!!! I study humor theory and was just debating whether or not it desereved its own thread (would I be talking to a wall?) I've often lectured on humor theory, like this post (http://forums.randi.org/showpost.php?p=5231000&postcount=2)for example. Just last night (http://forums.randi.org/showpost.php?p=5619170&postcount=33)I lectured on the importance of incongruity while I was drunk. I've studied experiment after experiment on humor theory and each concludes that a moderate degree of incongruity is necessary for humor appreciation.

THIS THREAD IS CRAZY!!!!!!!!!!!!! the OP's author must be psychic? You should apply for the million dollar challenge.

fuelair
16th February 2010, 05:44 PM
Apparently there are several of us here!!!:):):):)

Lithrael
16th February 2010, 06:46 PM
My favorite Switfy ever:

"My wife is gone, gone, never to return!" cried Mr. Westheimer ruthlessly.

beeksc1
20th February 2010, 11:03 AM
The best comedy is live and often in real life, part of it can be playing the fool or the straight man yourself and one of the best parts is when someone realizes that they have been unknowingly playing your straight man right on cue.

Absolutely, I wholeheartedly agree. Great comedy is a fine practice of spontaneity.

In print, I tend to go for the juxtaposition of solemnity and vulgarity, Rabelaisian wit: a gassy pompous priest, that sort of thing; but visually, for sheer bust-a-gut laughter, for me there's nothing funnier than slapstick.


I mostly agree. Definitely comedy tends to juxtaposition ideas. I disagree that it is has to contain vulgarity; I think that can be expanded to a juxtaposition of solemnity with audacity, edginess, relentlessness, sassiness, and/or liveliness. Right on though.

I think the one generality that's behind all forms of humor is an intersection of two (or more) different things--maybe expectations or frames of reference. With puns or irony, the two different ways of understanding are fairly evident. Even slapstick (you don't expect a person to slip and fall).

ETA: And vulgarity is a juxtaposition of social norms and the violation of them. A fart in a bathroom isn't funny the way a fart at a posh social event is.


A big rule:
A) The set up - you set up a situation the audience can follow with relative ease: Ricky and Lucy practice a dance that involves Lucy being quickly pulled into contact with Ricky. Ricky has to go to a meeting.

B) Set up continues- separate action the audience etc. : Lucy and Ethel buy a large number of eggs (reason is not critical but involves chickens not laying and Fred).

C) Anticipation 1: Suddenly, Ricky's car drives back up! What to do with eggs they can't hide elsewhere? Put in clothes (they have jackets on)!

D)Anticipation 2: Ricky comes in, says meeting canceled so they can practice the dance. Does not take no for an answer. He and Lucy start to dance, whirling ,etc.

AND E) PAYOFF 1: Lucy is pulled into Ricky and the eggs smash, Lucy face, Ricky yell and Ethel starts for door (Anticipation 3)!

Followed by F)Secondary Payoff: Fred comes through door just as Ethel reaches it - Ethel's hidden eggs break - Ethel face, Fred yell...............

Not only is this format a staple of sitcoms and certain other users of humor but it is one of the purest examples I have found of it - which I routinely use in discussions with students on humor in television.
One other I also use examples of a lot is the "meet cute".

Before I could get to it, Blobru recognises your astute contribution.
Good analyses. I agree with fuelair that set-up is crucial. It can be a bit like action-drama in that respect, or even a magic trick: complication upon complication until the big payoff -- in drama (or magic), how will the hero transcend seeming fate, and escape? -- in comedy, how will the hero not transcend, not escape, and yet survive? (which is one function of laughter, of course -- normalizing embarrassment).


I agree.

NO WAY. This is Crazy! I study humor theory and was just debating whether or not it deserved its own thread (would I be talking to a wall?) I've often lectured on humor theory. Just last night, I lectured on the importance of incongruity while I was drunk. I've studied experiment after experiment on humor theory and each concludes that a moderate degree of incongruity is necessary for humor appreciation.

THIS THREAD IS CRAZY! The OP's author must be psychic? You should apply for the million-dollar challenge.

Are you attempting to yank my chain? This is a thread about our sense of humor; but, I will take it on face value. Thank you for the kind words. And as I see it, everything is interconnected. There are very few coincidences; that is, perhaps, I picked up on your cognitive thought vibrations regarding humor theory and that potential experience was a catalyzing force that inspired the creation of this thread. Hey, science does not know everything; that is why we are still conducting empiricism.

Apparently there are several of us here!

Cool.

So, back to the topic at hand. There are lots of shrewd contributions on this thread. Thank you for the conscious input; let us see how far we can progress it.

Trent Wray
20th February 2010, 11:05 AM
How do you circumcise a whale?

Four skin divers. :D

beeksc1
20th February 2010, 11:07 AM
Credited to FuelAir:

The Big Rule: guidelines to a staple formula of situational comedy.

I) Set Up Presentation
a. Introduce an everyday experience that is easily identifiable.
i. Present the audience with a common situation that they mostly likely have experience.

II) Set Up Development
a. Inject an action into the common situation.
i. Walk the audience into a state of mind that allows them to question the circumstances. “Why is this action occurring?”

III) Anticipation Injection
a. Inject a sense of uncertainty with an action that is wild, zany, and/or whimsical.
i. Lead the audience into a state of mind that leaves them curious about what is going to happen next.

IV) Anticipation Augmentation
a. Enhance the sense of anticipation, ambiguity, apprehension, uneasiness, and uncertainty.
i. Mislead the audience to a conclusion that is generally expected.

V) Primary Pay-Off
a. Follow through climatically with the situation’s sense of uncertainty with an element of surprise.
i. Take the audience the other direction with the gag into a climax that is generally unexpected.

VI) Secondary Pay-Off
a. Complete and resolve the situation with a similar element of misfortune.
i. Conclude the orchestrated situation that leaves the audience in a state of comfort once again.

So, the Big Rule is to create a situation that is fairly ordinary; subsequently, the comic obscures the common situation. The audience is mislead into a state of mind that evokes them to picture an expected outcome. Then, the comic delivers the punch line; he/she takes the audience to place that contradicts their expectations. Finally, a similar gag is used to resolve the tension that was created by the anticipation.

Elizabeth I
20th February 2010, 01:37 PM
How do you circumcise a whale?

Four skin divers. :D

Because we still don't have a "throwing a rock at you" smiley:

:bricks:

beeksc1
20th February 2010, 04:30 PM
Basic Joke Format

I) Introduction
a. Introduce a situation.
b. Create a scenario within the context.

II) Premise
a. Develop an action within the scenario.
b. Inject a sense of uncertainty within the action.

III) Antithesis
a. Set up the gag.
b. Deliver the punch line.

Here is gag that I just wrote to demonstrate the basic joke format.
Courtrooms are a spectacle to see and coincidently to smell. Bombarded with a thick wave of marijuana smoke, I realized that someone was burning some high quality herb. Taking a huge hit from the joint, I located the person smoking. Looking to pass the fatty, the smoker asks “Does anyone else want to hit this?” Silence. “Fine. I’ll smoke this whole joint before we start the trial,” proclaims the Judge.

I) Introduction
a. “Courtrooms can be a spectacle to see and coincidently to smell.”
b. “Bombarded with a thick wave of marijuana smoke”

II) Premise
a. “I realized that someone was burning some high quality herb.”
b. “Taking a huge hit from the joint, I located the person smoking.”

III) Antithesis
a. “Looking to pass the fatty, the smoker asks ‘Does anyone else want to hit this?’ Silence.”
b. “’Fine. I’ll have to smoke this whole joint before we start the trial,’ proclaims the Judge.”

blobru
22nd February 2010, 01:08 AM
Basic Joke Format

I) Introduction
a. Introduce a situation.
b. Create a scenario within the context.

II) Premise
a. Develop an action within the scenario.
b. Inject a sense of uncertainty within the action.

III) Antithesis
a. Set up the gag.
b. Deliver the punch line.the basic joke format.
...


I) Introduction
a. Marriage.
b. Wife.

II) Premise
a. For example.
b. My wife.

III) Antithesis
a. Take my wife.
b. Please.


:czcontent: {patent pending h. youngman estate}

Sunsneezer
25th February 2010, 06:00 AM
I make films with my friends and I enjoy writing gags.
We made this one as a nod to old printed comic humor, trying to find a way to set up the first joke in a way that makes it as predictable as possible, then come up with variations on the same set up. Each segment has its own intro - premise and antithesis, and the three versions of the gag follow intro - premise and antithesis too. First one is obvious, second one sets the pattern, the third one works only because it is set up by the first 2.
http://www.youtube.com/watch?v=Jk82FiMyF4E

paiute
25th February 2010, 06:48 AM
You got me to smile and slightly chuckle on that one. Touché!

A pun is a form of word play that deliberately employs ambiguity between similar-sounding words for humorous intent or rhetorical effect.

A pun is a form of word play that may be used to torture innocent bystanders when there is no blackboard available to draw one's fingernails across.

paiute
25th February 2010, 06:59 AM
An Orthodox Jew walks into a bar with a parrot on his shoulder.
The bartender says, "Hey! Where did you get that?"
The parrot says, "Brooklyn. They're all over the place."

TheDoLittle
25th February 2010, 10:58 AM
Comedy is one of my favorite forms (if not my favorite form) of art.

And Photoshop it's most sincerest form of flattery!

http://lh3.ggpht.com/_qNEch1r0OIU/SZHBc4MSZHI/AAAAAAAABXM/sSfo-PCXZBs/s512/DOL_worth1000ArtAd3.jpg

Sunray Breaker
25th February 2010, 11:27 AM
My favorite style of comedy has always been the more confrontational, uncomfotable & controversial types of humor. My current favorite is definitely Doug Stanhope;

"With all the horrible, horrible **** that your priest is pumping into your kid's head, his penis should be the least of your worries, honestly. That's just a little mouthwash and a few years of therapy'll get rid of that. That Jesus **** will torture you for a lifetime."
or
Jesus died for your sins. I'm doing it for your mere entertainment dollar.
Why would you die for someone's sins? Your sins are the only thing interesting about you you dreary, bleak (mofo's)

or Bill Hicks

Good evening, my name is Bill Hicks. I've been on the road now doing comedy twelve years, so, uh, bear with me while I plaster on a fake smile and plow through this sh*t one more time. … I'm kinda tired of traveling, kinda tired of doing comedy, kinda tired of staring out at your blank faces looking back at me, wanting me to fill your empty lives with humor you couldn't possibly think of yourselves.

or

I just have one of those faces. People come up to me and say, "What's wrong?" "Nothing." "Well, it takes more energy to frown than it does to smile." "Yeah, you know it takes more energy to point that out than it does to leave me alone?"

I love the typical miserable grouchy, alcoholic, burn-out comedian type more than any other.

sadhatter
25th February 2010, 11:28 AM
Comedy is one of my favorite forms (if not my favorite form) of art. Even though I cannot exactly put my finger on what makes me laugh, I realize that I have a healthy sense of humor. Searching for what makes me burst into laughter, I have red the book titled, Comedy Writing: Step by Step, which is authored by Gene Perret.

I have conducted some research on humor theory; nonetheless, I am curious to find out what elements of comedy make you laugh? What do you think make up the essential foundation in the art of comedy?

Shared bit:

“Visiting a friend at a local hospital, I was surprised when I came across an on site Wendy's. Do you find this odd? Isn't this like a dentist selling candy in the lobby of his office?”

Understatement, nothing is funnier that understated comedy. Or even the combination of understand and overstated comedy ( anything Rik Mayall has been in really. )

whatthebutlersaw
26th February 2010, 06:34 AM
One cushion in our sofa is the designated cringe-cushion that I hide behind when a comedy pulls out the "in plain sight with the trousers around the ankles" situations. That, I think, is the one form of humour that can't make me laugh out loud in most situations.

Out of the examples in the thread, the one that made me laugh the most was the perch-joke, but as a Bill Hicks fan I know that I laughed myself absolutelty helpless when I watched Hicks do the quoted bit on DVD.

Back when we had telly, I laughed every time I saw a certain comercial despite seeing it several times per night. I don't remember the company or the product, but it was clearly about some recent American/British cooperation, because the premise was US-UK differences. At some point the designated American says "Look at me, I'm wearing trousers, lala". I am clearly a sucker for delivery.

Sometimes the contrivance of a setup is the funny bit in itself - for some reason, despite many extremely funny bits, my absolutely strongest memory of the US version of "Whose Line is it Anyway" was Colin Mochry building up the most contrived pun I have ever come across. I think it was one of the "News Reader" challenges, and somehow he came up with this story about how Hugh Heffner had, in vain, called the police to help him evict a coven of Buddhist Monks who had started squatting on his land, using his landscaping for flower arrangements. The police refused to help him because "only Hugh can prevent florist-friars".

The kind of mind that will go to such lengths for a pun can only be revered.

jiggeryqua
26th February 2010, 07:00 AM
You: I watched this flock of deer walk by my house the other day.
Other person: It’s a herd of deer not a flock.
You: What?
Other person: Herd not flock.
You: What?
Other person: Herd, herd of deer!
You: Well of course I’ve heard of deer, that’s what the storie's about.


My father used to do that bit all the time, I never knew where it came from. He'd continue...

Other person: No, no! A deer herd!

You: What do I care what a deer heard, I got no secrets from a deer.

In practise, of course, nobody ever actually feeds the right straight lines.

Most of my belly laughs and tea-snorting moments come from improvised wit, on panel shows and the like. For this example, it helps to know the acts concerned, but on an edition of BBC's 'Never Mind The Buzzcocks', the guest host was David Walliams of Little Britain fame. In relation to an earlier question, he asked Noel Fielding (of the more cultish comedy The Mighty Boosh): "Did you do without anything when you did your live tour....jokes, maybe?"

Noel let the laugh die down, and timed his response perfectly: "Catchphrases".

whatthebutlersaw
26th February 2010, 07:09 AM
I remember that one, and it was a tea-through-nose moment. I didn't get Boosh and avoided them until I accidentally saw the Milky-Joe episode and their Russian Play for The Secret Policeman's Ball on the same night. Now they are top ten staples.

luchog
27th February 2010, 03:55 AM
One of my favorite comments on comedy is from Mel Brooks: "Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die."

I'm not a big fan of puns as a rule, although I've been known to make them from time to time.

I guess I have two types of comedy which are effectively tied for my favorite.

Absurdism is one of them; moreso the more extreme it gets. I love comedy that pushes the boundaries of sense and sensibility. Especially when it strives for a pure, gut reaction rather than conventional polite laughter. Examples: Robin Williams, Rik Mayall and Ade Edmondson, Andy Kaufman.

I also love comedy which satirizes, lampoons, and spoofs human foibles; particularly pomposity, pretention, and self-importance. I prefer it when it's more general and less topical; although this distinction is more complex than it first appears, since some of the best "general" satires have been ostensibly topical. I guess the best way to explain it is that the former uses specific, topical examples to make a broader point; while the latter is entirely focussed on a particular example. Christopher Guest is brilliant at this.

The best comedy, IMO, combines the two. Taking those foibles and pushing them to the limits of ridiculousness. I love the Monty Python crew, because their work incorporates so much of what I like about both absurdism and satire. Mel Brooks can also be quite good at combining the two.

luchog
27th February 2010, 03:57 AM
The kind of mind that will go to such lengths for a pun can only be revered.

Or, hopefully, given the medical treatment it so clearly needs.

JoeTheJuggler
27th February 2010, 03:10 PM
I'm in the middle of doing 4 shows today (comedy juggling shows).

After one of them a little girl said to me, "You should be a comedian!"

"I am a comedian," I said.

"No, you're a juggler!" she said.

No respect, I tell ya. No respect at all.

Two more shows to do yet tonight!

The Man
27th February 2010, 03:50 PM
My father used to do that bit all the time, I never knew where it came from. He'd continue...

Other person: No, no! A deer herd!

You: What do I care what a deer heard, I got no secrets from a deer.

In practise, of course, nobody ever actually feeds the right straight lines.

Most of my belly laughs and tea-snorting moments come from improvised wit, on panel shows and the like. For this example, it helps to know the acts concerned, but on an edition of BBC's 'Never Mind The Buzzcocks', the guest host was David Walliams of Little Britain fame. In relation to an earlier question, he asked Noel Fielding (of the more cultish comedy The Mighty Boosh): "Did you do without anything when you did your live tour....jokes, maybe?"

Noel let the laugh die down, and timed his response perfectly: "Catchphrases".


You only need one line “Herd of deer”. Usually some “Huh”s or “What”s with a bewildered look on your face will get them to feed you the right line. Sometimes though people already know the bit or are just comfortable discussing a flock of deer. One of the problems with real life comedy, it don’t always work out the way you wanted.

The Man
27th February 2010, 04:37 PM
My favorite style of comedy has always been the more confrontational, uncomfotable & controversial types of humor. My current favorite is definitely Doug Stanhope;


or


or Bill Hicks



or



I love the typical miserable grouchy, alcoholic, burn-out comedian type more than any other.


Ah yes, the darker and perhaps now somewhat more dysfunctional members of the comedy family.

Starting with slap stick, like that from The Three Stooges which has morphed into the “Jackass” types of comedy.

Insult comedy, made more popular by Don Rickles, more outrageous by Andrew Dice Clay and culminating in the “Yo’ Mama” types of competitions you see today. A subset of this is the self deprecating or exploring your demons type of comedy of say Richard Pryor.

Then you’ve got the prank comedy made famous by “Candid Camera” and resulting in the “Punked” types of shows today.

Finally the conglomerating of them all into just idiots doing what idiots do best, like in “Viva La Bam”.

yomero
28th February 2010, 09:32 PM
"I dropped my toothpaste." said Tom crestfallen.

TheDoLittle
28th February 2010, 09:52 PM
Back in the old days of BBSing, I seem to remember Swifties involving Winnie the Pooh.

My favorite was (and still is):

"Bother", said Pooh, as he was assimilated by the Borg.

quarky
28th February 2010, 10:39 PM
My favorite style of comedy has always been the more confrontational, uncomfotable & controversial types of humor. My current favorite is definitely Doug Stanhope;


or


or Bill Hicks



or



I love the typical miserable grouchy, alcoholic, burn-out comedian type more than any other.



Me too, Stanhope. He's way ahead of the pack. I don't find him mean spirited, like some shock comics that I can't bear. He doesn't tell jokes as much as expose himself, and the listener, in doing so. He doesn't even make me laugh, actually, but he's my favorite comedian.

Soapy Sam
3rd March 2010, 01:38 AM
Chic Murray again:-
Doctor (sitting down beside patient in Glasgow hospital.)
"Comfy?"
"Govan".

Fishstick
3rd March 2010, 02:12 AM
So, there's a man crawling through the desert.

He'd decided to try his SUV in a little bit of cross-country travel, had great fun zooming over the badlands and through the sand, got lost, hit a big rock, and then he couldn't get it started again. There were no cell phone towers anywhere near, so his cell phone was useless. He had no family, his parents had died a few years before in an auto accident, and his few friends had no idea he was out here.

He stayed with the car for a day or so, but his one bottle of water ran out and he was getting thirsty. He thought maybe he knew the direction back, now that he'd paid attention to the sun and thought he'd figured out which way was north, so he decided to start walking. He figured he only had to go about 30 miles or so and he'd be back to the small town he'd gotten gas in last.

He thinks about walking at night to avoid the heat and sun, but based upon how dark it actually was the night before, and given that he has no flashlight, he's afraid that he'll break a leg or step on a rattlesnake. So, he puts on some sun block, puts the rest in his pocket for reapplication later, brings an umbrella he'd had in the back of the SUV with him to give him a little shade, pours the windshield wiper fluid into his water bottle in case he gets that desperate, brings his pocket knife in case he finds a cactus that looks like it might have water in it, and heads out in the direction he thinks is right.

He walks for the entire day. By the end of the day he's really thirsty. He's been sweating all day, and his lips are starting to crack. He's reapplied the sunblock twice, and tried to stay under the umbrella, but he still feels sunburned. The windshield wiper fluid sloshing in the bottle in his pocket is really getting tempting now. He knows that it's mainly water and some ethanol and coloring, but he also knows that they add some kind of poison to it to keep people from drinking it. He wonders what the poison is, and whether the poison would be worse than dying of thirst.

He pushes on, trying to get to that small town before dark.

By the end of the day he starts getting worried. He figures he's been walking at least 3 miles an hour, according to his watch for over 10 hours. That means that if his estimate was right that he should be close to the town. But he doesn't recognize any of this. He had to cross a dry creek bed a mile or two back, and he doesn't remember coming through it in the SUV. He figures that maybe he got his direction off just a little and that the dry creek bed was just off to one side of his path. He tells himself that he's close, and that after dark he'll start seeing the town lights over one of these hills, and that'll be all he needs.

As it gets dim enough that he starts stumbling over small rocks and things, he finds a spot and sits down to wait for full dark and the town lights.

Full dark comes before he knows it. He must have dozed off. He stands back up and turns all the way around. He sees nothing but stars.

He wakes up the next morning feeling absolutely lousy. His eyes are gummy and his mouth and nose feel like they're full of sand. He so thirsty that he can't even swallow. He barely got any sleep because it was so cold. He'd forgotten how cold it got at night in the desert and hadn't noticed it the night before because he'd been in his car.

He knows the Rule of Threes - three minutes without air, three days without water, three weeks without food - then you die. Some people can make it a little longer, in the best situations. But the desert heat and having to walk and sweat isn't the best situation to be without water. He figures, unless he finds water, this is his last day.

He rinses his mouth out with a little of the windshield wiper fluid. He waits a while after spitting that little bit out, to see if his mouth goes numb, or he feels dizzy or something. Has his mouth gone numb? Is it just in his mind? He's not sure. He'll go a little farther, and if he still doesn't find water, he'll try drinking some of the fluid.

Then he has to face his next, harder question - which way does he go from here? Does he keep walking the same way he was yesterday (assuming that he still knows which way that is), or does he try a new direction? He has no idea what to do.

Looking at the hills and dunes around him, he thinks he knows the direction he was heading before. Just going by a feeling, he points himself somewhat to the left of that, and starts walking.

As he walks, the day starts heating up. The desert, too cold just a couple of hours before, soon becomes an oven again. He sweats a little at first, and then stops. He starts getting worried at that - when you stop sweating he knows that means you're in trouble - usually right before heat stroke.

He decides that it's time to try the windshield wiper fluid. He can't wait any longer - if he passes out, he's dead. He stops in the shade of a large rock, takes the bottle out, opens it, and takes a mouthful. He slowly swallows it, making it last as long as he can. It feels so good in his dry and cracked throat that he doesn't even care about the nasty taste. He takes another mouthful, and makes it last too. Slowly, he drinks half the bottle. He figures that since he's drinking it, he might as well drink enough to make some difference and keep himself from passing out.

He's quit worrying about the denaturing of the wiper fluid. If it kills him, it kills him - if he didn't drink it, he'd die anyway. Besides, he's pretty sure that whatever substance they denature the fluid with is just designed to make you sick - their way of keeping winos from buying cheap wiper fluid for the ethanol content. He can handle throwing up, if it comes to that.

He walks. He walks in the hot, dry, windless desert. Sand, rocks, hills, dunes, the occasional scrawny cactus or dried bush. No sign of water. Sometimes he'll see a little movement to one side or the other, but whatever moved is usually gone before he can focus his eyes on it. Probably birds, lizards, or mice. Maybe snakes, though they usually move more at night. He's careful to stay away from the movements.

After a while, he begins to stagger. He's not sure if it's fatigue, heat stroke finally catching him, or maybe he was wrong and the denaturing of the wiper fluid was worse than he thought. He tries to steady himself, and keep going.

After more walking, he comes to a large stretch of sand. This is good! He knows he passed over a stretch of sand in the SUV - he remembers doing donuts in it. Or at least he thinks he remembers it - he's getting woozy enough and tired enough that he's not sure what he remembers any more or if he's hallucinating. But he thinks he remembers it. So he heads off into it, trying to get to the other side, hoping that it gets him closer to the town.

He was heading for a town, wasn't he? He thinks he was. He isn't sure any more. He's not even sure how long he's been walking any more. Is it still morning? Or has it moved into afternoon and the sun is going down again? It must be afternoon - it seems like it's been too long since he started out.

He walks through the sand.

After a while, he comes to a big dune in the sand. This is bad. He doesn't remember any dunes when driving over the sand in his SUV. Or at least he doesn't think he remembers any. This is bad.

But, he has no other direction to go. Too late to turn back now. He figures that he'll get to the top of the dune and see if he can see anything from there that helps him find the town. He keeps going up the dune.

Halfway up, he slips in the bad footing of the sand for the second or third time, and falls to his knees. He doesn't feel like getting back up - he'll just fall down again. So, he keeps going up the dune on his hand and knees.

While crawling, if his throat weren't so dry, he'd laugh. He's finally gotten to the hackneyed image of a man lost in the desert - crawling through the sand on his hands and knees. If would be the perfect image, he imagines, if only his clothes were more ragged. The people crawling through the desert in the cartoons always had ragged clothes. But his have lasted without any rips so far. Somebody will probably find his dessicated corpse half buried in the sand years from now, and his clothes will still be in fine shape - shake the sand out, and a good wash, and they'd be wearable again. He wishes his throat were wet enough to laugh. He coughs a little instead, and it hurts.

He finally makes it to the top of the sand dune. Now that he's at the top, he struggles a little, but manages to stand up and look around. All he sees is sand. Sand, and more sand. Behind him, about a mile away, he thinks he sees the rocky ground he left to head into this sand. Ahead of him, more dunes, more sand. This isn't where he drove his SUV. This is Hell. Or close enough.

Again, he doesn't know what to do. He decides to drink the rest of the wiper fluid while figuring it out. He takes out the bottle, and is removing the cap, when he glances to the side and sees something. Something in the sand. At the bottom of the dune, off to the side, he sees something strange. It's a flat area, in the sand. He stops taking the cap of the bottle off, and tries to look closer. The area seems to be circular. And it's dark - darker than the sand. And, there seems to be something in the middle of it, but he can't tell what it is. He looks as hard as he can, and still can tell from here. He's going to have to go down there and look.

He puts the bottle back in his pocket, and starts to stumble down the dune. After a few steps, he realizes that he's in trouble - he's not going to be able to keep his balance. After a couple of more sliding, tottering steps, he falls and starts to roll down the dune. The sand it so hot when his body hits it that for a minute he thinks he's caught fire on the way down - like a movie car wreck flashing into flames as it goes over the cliff, before it ever even hits the ground. He closes his eyes and mouth, covers his face with his hands, and waits to stop rolling.

He stops, at the bottom of the dune. After a minute or two, he finds enough energy to try to sit up and get the sand out of his face and clothes. When he clears his eyes enough, he looks around to make sure that the dark spot in the sand it still there and he hadn't just imagined it.

So, seeing the large, flat, dark spot on the sand is still there, he begins to crawl towards it. He'd get up and walk towards it, but he doesn't seem to have the energy to get up and walk right now. He must be in the final stages of dehydration he figures, as he crawls. If this place in the sand doesn't have water, he'll likely never make it anywhere else. This is his last chance.

He gets closer and closer, but still can't see what's in the middle of the dark area. His eyes won't quite focus any more for some reason. And lifting his head up to look takes so much effort that he gives up trying. He just keeps crawling.

Finally, he reaches the area he'd seen from the dune. It takes him a minute of crawling on it before he realizes that he's no longer on sand - he's now crawling on some kind of dark stone. Stone with some kind of marking on it - a pattern cut into the stone. He's too tired to stand up and try to see what the pattern is - so he just keeps crawling. He crawls towards the center, where his blurry eyes still see something in the middle of the dark stone area.

His mind, detached in a strange way, notes that either his hands and knees are so burnt by the sand that they no longer feel pain, or that this dark stone, in the middle of a burning desert with a pounding, punishing sun overhead, doesn't seem to be hot. It almost feels cool. He considers lying down on the nice cool surface.

Cool, dark stone. Not a good sign. He must be hallucinating this. He's probably in the middle of a patch of sand, already lying face down and dying, and just imagining this whole thing. A desert mirage. Soon the beautiful women carrying pitchers of water will come up and start giving him a drink. Then he'll know he's gone.

He decides against laying down on the cool stone. If he's going to die here in the middle of this hallucination, he at least wants to see what's in the center before he goes. He keeps crawling.

It's the third time that he hears the voice before he realizes what he's hearing. He would swear that someone just said, "Greetings, traveler. You do not look well. Do you hear me?"

He stops crawling. He tries to look up from where he is on his hands and knees, but it's too much effort to lift his head. So he tries something different - he leans back and tries to sit up on the stone. After a few seconds, he catches his balance, avoids falling on his face, sits up, and tries to focus his eyes. Blurry. He rubs his eyes with the back of his hands and tries again. Better this time.

Yep. He can see. He's sitting in the middle of a large, flat, dark expanse of stone. Directly next to him, about three feet away, is a white post or pole about two inches in diameter and sticking up about four or five feet out of the stone, at an angle.

And wrapped around this white rod, tail with rattle on it hovering and seeming to be ready to start rattling, is what must be a fifteen foot long desert diamondback rattlesnake, looking directly at him.

He stares at the snake in shock. He doesn't have the energy to get up and run away. He doesn't even have the energy to crawl away. This is it, his final resting place. No matter what happens, he's not going to be able to move from this spot.

Well, at least dying of a bite from this monster should be quicker than dying of thirst. He'll face his end like a man. He struggles to sit up a little straighter. The snake keeps watching him. He lifts one hand and waves it in the snake's direction, feebly. The snake watches the hand for a moment, then goes back to watching the man, looking into his eyes.

Hmmm. Maybe the snake had no interest in biting him? It hadn't rattled yet - that was a good sign. Maybe he wasn't going to die of snake bite after all.

He then remembers that he'd looked up when he'd reached the center here because he thought he'd heard a voice. He was still very woozy - he was likely to pass out soon, the sun still beat down on him even though he was now on cool stone. He still didn't have anything to drink. But maybe he had actually heard a voice. This stone didn't look natural. Nor did that white post sticking up out of the stone. Someone had to have built this. Maybe they were still nearby. Maybe that was who talked to him. Maybe this snake was even their pet, and that's why it wasn't biting.

He tries to clear his throat to say, "Hello," but his throat is too dry. All that comes out is a coughing or wheezing sound. There is no way he's going to be able to talk without something to drink. He feels his pocket, and the bottle with the wiper fluid is still there. He shakily pulls the bottle out, almost losing his balance and falling on his back in the process. This isn't good. He doesn't have much time left, by his reckoning, before he passes out.

He gets the lid off of the bottle, manages to get the bottle to his lips, and pours some of the fluid into his mouth. He sloshes it around, and then swallows it. He coughs a little. His throat feels better. Maybe he can talk now.

He tries again. Ignoring the snake, he turns to look around him, hoping to spot the owner of this place, and croaks out, "Hello? Is there anyone here?"

He hears, from his side, "Greetings. What is it that you want?"

He turns his head, back towards the snake. That's where the sound had seemed to come from. The only thing he can think of is that there must be a speaker, hidden under the snake, or maybe built into that post. He decides to try asking for help.

"Please," he croaks again, suddenly feeling dizzy, "I'd love to not be thirsty any more. I've been a long time without water. Can you help me?"

Looking in the direction of the snake, hoping to see where the voice was coming from this time, he is shocked to see the snake rear back, open its mouth, and speak. He hears it say, as the dizziness overtakes him and he falls forward, face first on the stone, "Very well. Coming up."

A piercing pain shoots through his shoulder. Suddenly he is awake. He sits up and grabs his shoulder, wincing at the throbbing pain. He's momentarily disoriented as he looks around, and then he remembers - the crawl across the sand, the dark area of stone, the snake. He sees the snake, still wrapped around the tilted white post, still looking at him.

He reaches up and feels his shoulder, where it hurts. It feels slightly wet. He pulls his fingers away and looks at them - blood. He feels his shoulder again - his shirt has what feels like two holes in it - two puncture holes - they match up with the two aching spots of pain on his shoulder. He had been bitten. By the snake.

"It'll feel better in a minute." He looks up - it's the snake talking. He hadn't dreamed it. Suddenly he notices - he's not dizzy any more. And more importantly, he's not thirsty any more - at all!

"Have I died? Is this the afterlife? Why are you biting me in the afterlife?"

"Sorry about that, but I had to bite you," says the snake. "That's the way I work. It all comes through the bite. Think of it as natural medicine."

"You bit me to help me? Why aren't I thirsty any more? Did you give me a drink before you bit me? How did I drink enough while unconscious to not be thirsty any more? I haven't had a drink for over two days. Well, except for the windshield wiper fluid... hold it, how in the world does a snake talk? Are you real? Are you some sort of Disney animation?"

"No," says the snake, "I'm real. As real as you or anyone is, anyway. I didn't give you a drink. I bit you. That's how it works - it's what I do. I bite. I don't have hands to give you a drink, even if I had water just sitting around here."

The man sat stunned for a minute. Here he was, sitting in the middle of the desert on some strange stone that should be hot but wasn't, talking to a snake that could talk back and had just bitten him. And he felt better. Not great - he was still starving and exhausted, but much better - he was no longer thirsty. He had started to sweat again, but only slightly. He felt hot, in this sun, but it was starting to get lower in the sky, and the cool stone beneath him was a relief he could notice now that he was no longer dying of thirst.

"I might suggest that we take care of that methanol you now have in your system with the next request," continued the snake. "I can guess why you drank it, but I'm not sure how much you drank, or how much methanol was left in the wiper fluid. That stuff is nasty. It'll make you go blind in a day or two, if you drank enough of it."

"Ummm, n-next request?" said the man. He put his hand back on his hurting shoulder and backed away from the snake a little.

"That's the way it works. If you like, that is," explained the snake. "You get three requests. Call them wishes, if you wish." The snake grinned at his own joke, and the man drew back a little further from the show of fangs.

"But there are rules," the snake continued. "The first request is free. The second requires an agreement of secrecy. The third requires the binding of responsibility." The snake looks at the man seriously.

"By the way," the snake says suddenly, "my name is Nathan. Old Nathan, Samuel used to call me. He gave me the name. Before that, most of the Bound used to just call me 'Snake'. But that got old, and Samuel wouldn't stand for it. He said that anything that could talk needed a name. He was big into names. You can call me Nate, if you wish." Again, the snake grinned. "Sorry if I don't offer to shake, but I think you can understand - my shake sounds somewhat threatening." The snake give his rattle a little shake.

"Umm, my name is Jack," said the man, trying to absorb all of this. "Jack Samson.

"Can I ask you a question?" Jack says suddenly. "What happened to the poison...umm, in your bite. Why aren't I dying now? How did you do that? What do you mean by that's how you work?"

"That's more than one question," grins Nate. "But I'll still try to answer all of them. First, yes, you can ask me a question." The snake's grin gets wider. "Second, the poison is in you. It changed you. You now no longer need to drink. That's what you asked for. Or, well, technically, you asked to not be thirsty any more - but 'any more' is such a vague term. I decided to make it permanent - now, as long as you live, you shouldn't need to drink much at all. Your body will conserve water very efficiently. You should be able to get enough just from the food you eat - much like a creature of the desert. You've been changed.

"For the third question," Nate continues, "you are still dying. Besides the effects of that methanol in your system, you're a man - and men are mortal. In your current state, I give you no more than about another 50 years. Assuming you get out of this desert, alive, that is." Nate seemed vastly amused at his own humor, and continued his wide grin.

"As for the fourth question," Nate said, looking more serious as far as Jack could tell, as Jack was just now working on his ability to read talking-snake emotions from snake facial features, "first you have to agree to make a second request and become bound by the secrecy, or I can't tell you."

"Wait," joked Jack, "isn't this where you say you could tell me, but you'd have to kill me?"

"I thought that was implied." Nate continued to look serious.

"Ummm...yeah." Jack leaned back a little as he remembered again that he was talking to a fifteen foot poisonous reptile with a reputation for having a nasty temper. "So, what is this 'Bound by Secrecy' stuff, and can you really stop the effects of the methanol?" Jack thought for a second. "And, what do you mean methanol, anyway? I thought these days they use ethanol in wiper fluid, and just denature it?"

"They may, I don't really know," said Nate. "I haven't gotten out in a while. Maybe they do. All I know is that I smell methanol on your breath and on that bottle in your pocket. And the blue color of the liquid when you pulled it out to drink some let me guess that it was wiper fluid. I assume that they still color wiper fluid blue?"

"Yeah, they do," said Jack.

"I figured," replied Nate. "As for being bound by secrecy - with the fulfillment of your next request, you will be bound to say nothing about me, this place, or any of the information I will tell you after that, when you decide to go back out to your kind. You won't be allowed to talk about me, write about me, use sign language, charades, or even act in a way that will lead someone to guess correctly about me. You'll be bound to secrecy. Of course, I'll also ask you to promise not to give me away, and as I'm guessing that you're a man of your word, you'll never test the binding anyway, so you won't notice." Nate said the last part with utter confidence.

Jack, who had always prided himself on being a man of his word, felt a little nervous at this. "Ummm, hey, Nate, who are you? How did you know that? Are you, umm, omniscient, or something?"

Well, Jack," said Nate sadly, "I can't tell you that, unless you make the second request." Nate looked away for a minute, then looked back.

"Umm, well, ok," said Jack, "what is this about a second request? What can I ask for? Are you allowed to tell me that?"

"Sure!" said Nate, brightening. "You're allowed to ask for changes. Changes to yourself. They're like wishes, but they can only affect you. Oh, and before you ask, I can't give you immortality. Or omniscience. Or omnipresence, for that matter. Though I might be able to make you gaseous and yet remain alive, and then you could spread through the atmosphere and sort of be omnipresent. But what good would that be - you still wouldn't be omniscient and thus still could only focus on one thing at a time. Not very useful, at least in my opinion." Nate stopped when he realized that Jack was staring at him.

"Well, anyway," continued Nate, "I'd probably suggest giving you permanent good health. It would negate the methanol now in your system, you'd be immune to most poisons and diseases, and you'd tend to live a very long time, barring accident, of course. And you'll even have a tendency to recover from accidents well. It always seemed like a good choice for a request to me."

"Cure the methanol poisoning, huh?" said Jack. "And keep me healthy for a long time? Hmmm. It doesn't sound bad at that. And it has to be a request about a change to me? I can't ask to be rich, right? Because that's not really a change to me?"

"Right," nodded Nate.

"Could I ask to be a genius and permanently healthy?" Jack asked, hopefully.

"That takes two requests, Jack."

"Yeah, I figured so," said Jack. "But I could ask to be a genius? I could become the smartest scientist in the world? Or the best athlete?"

"Well, I could make you very smart," admitted Nate, "but that wouldn't necessarily make you the best scientist in the world. Or, I could make you very athletic, but it wouldn't necessarily make you the best athlete either. You've heard the saying that 99% of genius is hard work? Well, there's some truth to that. I can give you the talent, but I can't make you work hard. It all depends on what you decide to do with it."

"Hmmm," said Jack. "Ok, I think I understand. And I get a third request, after this one?"

"Maybe," said Nate, "it depends on what you decide then. There are more rules for the third request that I can only tell you about after the second request. You know how it goes." Nate looked like he'd shrug, if he had shoulders.

"Ok, well, since I'd rather not be blind in a day or two, and permanent health doesn't sound bad, then consider that my second request. Officially. Do I need to sign in blood or something?"

"No," said Nate. "Just hold out your hand. Or heel." Nate grinned. "Or whatever part you want me to bite. I have to bite you again. Like I said, that's how it works - the poison, you know," Nate said apologetically.

Jack winced a little and felt his shoulder, where the last bite was. Hey, it didn't hurt any more. Just like Nate had said. That made Jack feel better about the biting business. But still, standing still while a fifteen foot snake sunk it's fangs into you. Jack stood up. Ignoring how good it felt to be able to stand again, and the hunger starting to gnaw at his stomach, Jack tried to decide where he wanted to get bitten. Despite knowing that it wouldn't hurt for long, Jack knew that this wasn't going to be easy.

"Hey, Jack," Nate suddenly said, looking past Jack towards the dunes behind him, "is that someone else coming up over there?"

Jack spun around and looked. Who else could be out here in the middle of nowhere? And did they bring food?

Wait a minute, there was nobody over there. What was Nate...

Jack let out a bellow as he felt two fangs sink into his rear end, through his jeans...

Jack sat down carefully, favoring his more tender buttock. "I would have decided, eventually, Nate. I was just thinking about it. You didn't have to hoodwink me like that."

"I've been doing this a long time, Jack," said Nate, confidently. "You humans have a hard time sitting still and letting a snake bite you - especially one my size. And besides, admit it - it's only been a couple of minutes and it already doesn't hurt any more, does it? That's because of the health benefit with this one. I told you that you'd heal quickly now."

"Yeah, well, still," said Jack, "it's the principle of the thing. And nobody likes being bitten in the butt! Couldn't you have gotten my calf or something instead?"

"More meat in the typical human butt," replied Nate. "And less chance you accidentally kick me or move at the last second."

"Yeah, right. So, tell me all of these wonderful secrets that I now qualify to hear," answered Jack.

"Ok," said Nate. "Do you want to ask questions first, or do you want me to just start talking?"

"Just talk," said Jack. "I'll sit here and try to not think about food."

"We could go try to rustle up some food for you first, if you like," answered Nate.

"Hey! You didn't tell me you had food around here, Nate!" Jack jumped up. "What do we have? Am I in walking distance to town? Or can you magically whip up food along with your other powers?" Jack was almost shouting with excitement. His stomach had been growling for hours.

"I was thinking more like I could flush something out of its hole and bite it for you, and you could skin it and eat it. Assuming you have a knife, that is," replied Nate, with the grin that Jack was starting to get used to.

"Ugh," said Jack, sitting back down. "I think I'll pass. I can last a little longer before I get desperate enough to eat desert rat, or whatever else it is you find out here. And there's nothing to burn - I'd have to eat it raw. No thanks. Just talk."

"Ok," replied Nate, still grinning. "But I'd better hurry, before you start looking at me as food.

Nate reared back a little, looked around for a second, and then continued. "You, Jack, are sitting in the middle of the Garden of Eden."

Jack looked around at the sand and dunes and then looked back at Nate sceptically.

"Well, that's the best I can figure it, anyway, Jack," said Nate. "Stand up and look at the symbol on the rock here." Nate gestured around the dark stone they were both sitting on with his nose.

Jack stood up and looked. Carved into the stone in a bas-relief was a representation of a large tree. The angled-pole that Nate was wrapped around was coming out of the trunk of the tree, right below where the main branches left the truck to reach out across the stone. It was very well done - it looked more like a tree had been reduced to almost two dimensions and embedded in the stone than it did like a carving.

Jack walked around and looked at the details in the fading light of the setting sun. He wished he'd looked at it while the sun was higher in the sky.

Wait! The sun was setting! That meant he was going to have to spend another night out here! Arrrgh!

Jack looked out across the desert for a little bit, and then came back and stood next to Nate. "In all the excitement, I almost forgot, Nate," said Jack. "Which way is it back to town? And how far? I'm eventually going to have to head back - I'm not sure I'll be able to survive by eating raw desert critters for long. And even if I can, I'm not sure I'll want to."

"It's about 30 miles that way." Nate pointed, with the rattle on his tail this time. As far as Jack could tell, it was a direction at right angles to the way he'd been going when he was crawling here. "But that's 30 miles by the way the crow flies. It's about 40 by the way a man walks. You should be able to do it in about half a day with your improved endurance, if you head out early tomorrow, Jack."

Jack looked out the way the snake had pointed for a few seconds more, and then sat back down. It was getting dark. Not much he could do about heading out right now. And besides, Nate was just about to get to the interesting stuff. "Garden of Eden? As best as you can figure it?"

"Well, yeah, as best as I and Samuel could figure it anyway," said Nate. "He figured that the story just got a little mixed up. You know, snake, in a 'tree', offering 'temptations', making bargains. That kind stuff. But he could never quite figure out how the Hebrews found out about this spot from across the ocean. He worried about that for a while."

"Garden of Eden, hunh?" said Jack. "How long have you been here, Nate?"

"No idea, really," replied Nate. "A long time. It never occurred to me to count years, until recently, and by then, of course, it was too late. But I do remember when this whole place was green, so I figure it's been thousands of years, at least."

"So, are you the snake that tempted Eve?" said Jack.

"Beats me," said Nate. "Maybe. I can't remember if the first one of your kind that I talked to was female or not, and I never got a name, but it could have been. And I suppose she could have considered my offer to grant requests a 'temptation', though I've rarely had refusals."

"Well, umm, how did you get here then? And why is that white pole stuck out of the stone there?" asked Jack.

"Dad left me here. Or, I assume it was my dad. It was another snake - much bigger than I was back then. I remember talking to him, but I don't remember if it was in a language, or just kind of understanding what he wanted. But one day, he brought me to this stone, told me about it, and asked me to do something for him. I talked it over with him for a while, then agreed. I've been here ever since.

"What is this place?" said Jack. "And what did he ask you to do?"

"Well, you see this pole here, sticking out of the stone?" Nate loosened his coils around the tilted white pole and showed Jack where it descended into the stone. The pole was tilted at about a 45 degree angle and seemed to enter the stone in an eighteen inch slot cut into the stone. Jack leaned over and looked. The slot was dark and the pole went down into it as far as Jack could see in the dim light. Jack reached out to touch the pole, but Nate was suddenly there in the way.

"You can't touch that yet, Jack," said Nate.

"Why not?" asked Jack.

"I haven't explained it to you yet," replied Nate.

"Well, it kinda looks like a lever or something," said Jack. "You'd push it that way, and it would move in the slot."

"Yep, that's what it is," replied Nate.

"What does it do?" asked Jack. "End the world?"

"Oh, no," said Nate. "Nothing that drastic. It just ends humanity. I call it 'The Lever of Doom'." For the last few words Nate had used a deeper, ringing voice. He tried to look serious for a few seconds, and then gave up and grinned.

Jack was initially startled by Nate's pronouncement, but when Nate grinned Jack laughed. "Ha! You almost had me fooled for a second there. What does it really do?"

"Oh, it really ends humanity, like I said," smirked Nate. "I just thought the voice I used was funny, didn't you?"

Nate continued to grin.

"A lever to end humanity?" asked Jack. "What in the world is that for? Why would anyone need to end humanity?"

"Well," replied Nate, "I get the idea that maybe humanity was an experiment. Or maybe the Big Guy just thought, that if humanity started going really bad, there should be a way to end it. I'm not really sure. All I know are the rules, and the guesses that Samuel and I had about why it's here. I
didn't think to ask back when I started here."

"Rules? What rules?" asked Jack.

"The rules are that I can't tell anybody about it or let them touch it unless they agree to be bound to secrecy by a bite. And that only one human can be bound in that way at a time. That's it." explained Nate.

Jack looked somewhat shocked. "You mean that I could pull the lever now? You'd let me end humanity?"

"Yep," replied Nate, "if you want to." Nate looked at Jack carefully. "Do you want to, Jack?"

"Umm, no." said Jack, stepping a little further back from the lever. "Why in the world would anyone want to end humanity? It'd take a psychotic to want that! Or worse, a suicidal psychotic, because it would kill him too, wouldn't it?"

"Yep," replied Nate, "being as he'd be human too."

"Has anyone ever seriously considered it?" asked Nate. "Any of those bound to secrecy, that is?"

"Well, of course, I think they've all seriously considered it at one time or another. Being given that kind of responsibility makes you sit down and think, or so I'm told. Samuel considered it several times. He'd often get disgusted with humanity, come out here, and just hold the lever for a while. But he never pulled it. Or you wouldn't be here." Nate grinned some more.

Jack sat down, well back from the lever. He looked thoughtful and puzzled at the same time. After a bit, he said, "So this makes me the Judge of humanity? I get to decide whether they keep going or just end? Me?"

"That seems to be it," agreed Nate.

"What kind of criteria do I use to decide?" said Jack. "How do I make this decision? Am I supposed to decide if they're good? Or too many of them are bad? Or that they're going the wrong way? Is there a set of rules for that?"

"Nope," replied Nate. "You pretty much just have to decide on your own. It's up to you, however you want to decide it. I guess that you're just supposed to know."

"But what if I get mad at someone? Or some girl dumps me and I feel horrible? Couldn't I make a mistake? How do I know that I won't screw up?" protested Jack.

Nate gave his kind of snake-like shrug again. "You don't. You just have to try your best, Jack."

Jack sat there for a while, staring off into the desert that was rapidly getting dark, chewing on a fingernail.

Suddenly, Jack turned around and looked at the snake. "Nate, was Samuel the one bound to this before me?"

"Yep," replied Nate. "He was a good guy. Talked to me a lot. Taught me to read and brought me books. I think I still have a good pile of them buried in the sand around here somewhere. I still miss him. He died a few months ago."

"Sounds like a good guy," agreed Jack. "How did he handle this, when you first told him. What did he do?"

"Well," said Nate, "he sat down for a while, thought about it for a bit, and then asked me some questions, much like you're doing."

"What did he ask you, if you're allowed to tell me?" asked Jack.

"He asked me about the third request," replied Nate.

"Aha!" It was Jack's turn to grin. "And what did you tell him?"

"I told him the rules for the third request. That to get the third request you have to agree to this whole thing. That if it ever comes to the point that you really think that humanity should be ended, that you'll come here and end it. You won't avoid it, and you won't wimp out." Nate looked serious again. "And you'll be bound to do it too, Jack."

"Hmmm." Jack looked back out into the darkness for a while.

Nate watched him, waiting.

"Nate," continued Jack, quietly, eventually. "What did Samuel ask for with his third request?"

Nate sounded like he was grinning again as he replied, also quietly, "Wisdom, Jack. He asked for wisdom. As much as I could give him."

"Ok," said Jack, suddenly, standing up and facing away from Nate, "give it to me.

Nate looked at Jack's backside. "Give you what, Jack?"

"Give me that wisdom. The same stuff that Samuel asked for. If it helped him, maybe it'll help me too." Jack turned his head to look back over his shoulder at Nate. "It did help him, right?"

"He said it did," replied Nate. "But he seemed a little quieter afterward. Like he had a lot to think about."

"Well, yeah, I can see that," said Jack. "So, give it to me." Jack turned to face away from Nate again, bent over slightly and tensed up.

Nate watched Jack tense up with a little exasperation. If he bit Jack now, Jack would likely jump out of his skin and maybe hurt them both.

"You remember that you'll be bound to destroy humanity if it ever looks like it needs it, right Jack?" asked Nate, shifting position.

"Yeah, yeah, I got that," replied Jack, eyes squeezed tightly shut and body tense, not noticing the change in direction of Nate's voice.

"And," continued Nate, from his new position, "do you remember that you'll turn bright purple, and grow big horns and extra eyes?"

"Yeah, yeah...Hey, wait a minute!" said Jack, opening his eyes, straightening up and turning around. "Purple?!" He didn't see Nate there. With the moonlight Jack could see that the lever extended up from its slot in the rock without the snake wrapped around it.

Jack heard, from behind him, Nate's "Just Kidding!" right before he felt the now familiar piercing pain, this time in the other buttock.

Jack sat on the edge of the dark stone in the rapidly cooling air, his feet extending out into the sand. He stared out into the darkness, listening to the wind stir the sand, occasionally rubbing his butt where he'd been recently bitten.

Nate had left for a little while, had come back with a desert-rodent-shaped bulge somewhere in his middle, and was now wrapped back around the lever, his tongue flicking out into the desert night's air the only sign that he was still awake.

Occasionally Jack, with his toes absentmindedly digging in the sand while he thought, would ask Nate a question without turning around.

"Nate, do accidents count?"

Nate lifted his head a little bit. "What do you mean, Jack?"

Jack tilted his head back like he was looking at the stars. "You know, accidents. If I accidentally fall on the lever, without meaning to, does that still wipe out humanity?"

"Yeah, I'm pretty sure it does, Jack. I'd suggest you be careful about that if you start feeling wobbly," said Nate with some amusement.

A little later - "Does it have to be me that pulls the lever?" asked Jack.

"That's the rule, Jack. Nobody else can pull it," answered Nate.

"No," Jack shook his head, "I meant does it have to be my hand? Could I pull the lever with a rope tied around it? Or push it with a stick? Or throw a rock?"

"Yes, those should work," replied Nate. "Though I'm not sure how complicated you could get. Samuel thought about trying to build some kind of remote control for it once, but gave it up. Everything he'd build would be gone by the next sunrise, if it was touching the stone, or over it. I told him that in the past others that had been bound had tried to bury the lever so they wouldn't be tempted to pull it, but every time the stones or sand or whatever had disappeared."

"Wow," said Jack, "Cool." Jack leaned back until only his elbows kept him off of the stone and looked up into the sky.

"Nate, how long did Samuel live? One of his wishes was for health too, right?" asked Jack.

"Yes," replied Nate, "it was. He lived 167 years, Jack."

"Wow, 167 years. That's almost 140 more years I'll live if I live as long. Do you know what he died of, Nate?"

"He died of getting tired of living, Jack," Nate said, sounding somewhat sad.

Jack turned his head to look at Nate in the starlight.

Nate looked back. "Samuel knew he wasn't going to be able to stay in society. He figured that they'd eventually see him still alive and start questioning it, so he decided that he'd have to disappear after a while. He faked his death once, but changed his mind - he decided it was too early and he could stay for a little longer. He wasn't very fond of mankind, but he liked the attention. Most of the time, anyway.

"His daughter and then his wife dying almost did him in though. He didn't stay in society much longer after that. He eventually came out here to spend time talking to me and thinking about pulling the lever. A few months ago he told me he'd had enough. It was his time."

"And then he just died?" asked Jack.

Nate shook his head a little. "He made his forth request, Jack. There's only one thing you can ask for the fourth request. The last bite.

After a bit Nate continued, "He told me that he was tired, that it was his time. He reassured me that someone new would show up soon, like they always had.

After another pause, Nate finished, "Samuel's body disappeared off the stone with the sunrise."

Jack lay back down and looked at the sky, leaving Nate alone with his memories. It was a long time until Jack's breathing evened out into sleep.

Jack woke with the sunrise the next morning. He was a little chilled with the morning desert air, but overall was feeling pretty good. Well, except that his stomach was grumbling and he wasn't willing to eat raw desert rat.

So, after getting directions to town from Nate, making sure he knew how to get back, and reassuring Nate that he'd be back soon, Jack started the long walk back to town. With his new health and Nate's good directions, he made it back easily.

Jack caught a bus back to the city, and showed up for work the next day, little worse for the wear and with a story about getting lost in the desert and walking back out. Within a couple of days Jack had talked a friend with a tow truck into going back out into the desert with him to fetch the SUV. They found it after a couple of hours of searching and towed it back without incident. Jack was careful not to even look in the direction of Nate's lever, though their path back didn't come within sight of it.

Before the next weekend, Jack had gone to a couple of stores, including a book store, and had gotten his SUV back from the mechanic, with a warning to avoid any more joyriding in the desert. On Saturday, Jack headed back to see Nate.

Jack parked a little way out of the small town near Nate, loaded up his new backpack with camping gear and the things he was bringing for Nate, and then started walking. He figured that walking would leave the least trail, and he knew that while not many people camped in the desert, it wasn't unheard of, and shouldn't really raise suspicions.

Jack had brought more books for Nate - recent books, magazines, newspapers. Some things that would catch Nate up with what was happening in the world, others that were just good books to read. He spent the weekend with Nate, and then headed out again, telling Nate that he'd be back again soon, but that he had things to do first.

Over four months later Jack was back to see Nate again. This time he brought a laptop with him - a specially modified laptop. It had a solar recharger, special filters and seals to keep out the sand, a satellite link-up, and a special keyboard and joystick that Jack hoped that a fifteen-foot rattlesnake would be able to use. And, it had been hacked to not give out its location to the satellite.

After that Jack could e-mail Nate to keep in touch, but still visited him fairly regularly - at least once or twice a year.

After the first year, Jack quit his job. For some reason, with the wisdom he'd been given, and the knowledge that he could live for over 150 years, working in a nine to five job for someone else didn't seem that worthwhile any more. Jack went back to school.

Eventually, Jack started writing. Perhaps because of the wisdom, or perhaps because of his new perspective, he wrote well. People liked what he wrote, and he became well known for it. After a time, Jack bought an RV and started traveling around the country for book signings and readings.

But, he still remembered to drop by and visit Nate occasionally.

On one of the visits Nate seemed quieter than usual. Not that Nate had been a fountain of joy lately. Jack's best guess was that Nate was still missing Samuel, and though Jack had tried, he still hadn't been able to replace Samuel in Nate's eyes. Nate had been getting quieter each visit. But on this visit Nate didn't even speak when Jack walked up to the lever. He nodded at Jack, and then went back to staring into the desert. Jack, respecting Nate's silence, sat down and waited.

After a few minutes, Nate spoke. "Jack, I have someone to introduce you to."

Jack looked surprised. "Someone to introduce me to?" Jack looked around, and then looked carefully back at Nate. "This something to do with the Big Guy?

"No, no," replied Nate. "This is more personal. I want you to meet my son." Nate looked over at the nearest sand dune. "Sammy!"

Jack watched as a four foot long desert rattlesnake crawled from behind the dune and up to the stone base of the lever.

"Yo, Jack," said the new, much smaller snake.

"Yo, Sammy" replied Jack. Jack looked at Nate. "Named after Samuel, I assume?"

Nate nodded. "Jack, I've got a favor to ask you. Could you show Sammy around for me?" Nate unwrapped himself from the lever and slithered over to the edge of the stone and looked across the sands. "When Samuel first told me about the world, and brought me books and pictures, I wished that I could go see it. I wanted to see the great forests, the canyons, the cities, even the other deserts, to see if they felt and smelled the same. I want my son to have that chance - to see the world. Before he becomes bound here like I have been.

"He's seen it in pictures, over the computer that you brought me. But I hear that it's not the same. That being there is different. I want him to have that. Think you can do that for me, Jack?"

Jack nodded. This was obviously very important to Nate, so Jack didn't even joke about taking a talking rattlesnake out to see the world. "Yeah, I can do that for you, Nate. Is that all you need?" Jack could sense that was something more.

Nate looked at Sammy. Sammy looked back at Nate for a second and then said, "Oh, yeah. Ummm, I've gotta go pack. Back in a little bit Jack. Nice to meet ya!" Sammy slithered back over the dune and out of sight.

Nate watched Sammy disappear and then looked back at Jack. "Jack, this is my first son. My first offspring through all the years. You don't even want to know what it took for me to find a mate." Nate grinned to himself. "But anyway, I had a son for a reason. I'm tired. I'm ready for it to be over. I needed a replacement."

Jack considered this for a minute. "So, you're ready to come see the world, and you wanted him to watch the lever while you were gone?"

Nate shook his head. "No, Jack - you're a better guesser than that. You've already figured out - I'm bound here - there's only one way for me to leave here. And I'm ready. It's my time to die."

Jack looked more closely at Nate. He could tell Nate had thought about this - probably for quite a while. Jack had trouble imagining what it would be like to be as old as Nate, but Jack could already tell that in another hundred or two hundred years, he might be getting tired of life himself. Jack could understand Samuel's decision, and now Nate's. So, all Jack said was, "What do you want me to do?"

Nate nodded. "Thanks, Jack. I only want two things. One - show Sammy around the world - let him get his fill of it, until he's ready to come back here and take over. Two - give me the fourth request.

"I can't just decide to die, not any more than you can. I won't even die of old age like you eventually will, even though it'll be a long time from now. I need to be killed. Once Sammy is back here, ready to take over, I'll be able to die. And I need you to kill me.

"I've even thought about how. Poisons and other drugs won't work on me. And I've seen pictures of snakes that were shot - some of them live for days, so that's out too. So, I want you to bring back a sword.

Nate turned away to look back to the dune that Sammy had gone behind. "I'd say an axe, but that's somewhat undignified - putting my head on the ground or a chopping block like that. No, I like a sword. A time-honored way of going out. A dignified way to die. And, most importantly, it should work, even on me.

"You willing to do that for me, Jack?" Nate turned back to look at Jack.

"Yeah, Nate," replied Jack solemnly, "I think I can handle that."

Nate nodded. "Good!" He turned back toward the dune and shouted, "Sammy! Jack's about ready to leave!" Then quietly, "Thanks, Jack."

Jack didn't have anything to say to that, so he waited for Sammy to make it back to the lever, nodded to him, nodded a final time to Nate, and then headed into the desert with Sammy following.

Over the next several years Sammy and Jack kept in touch with Nate through e-mail as they went about their adventures. They made a goal of visiting every country in the world, and did a respectable job of it. Sammy had a natural gift for languages, as Jack expected he would, and even ended up acting as a translator for Jack in a few of the countries. Jack managed to keep the talking rattlesnake hidden, even so, and by the time they were nearing the end of their tour of countries, Sammy had only been spotted a few times. While there were several people that had seen enough to startle them greatly, nobody had enough evidence to prove anything, and while a few wild rumors and storied followed Jack and Sammy around, nothing ever hit the newspapers or the public in general.

When they finished the tour of countries, Jack suggested that they try some undersea diving. They did. And spelunking. They did that too. Sammy finally drew the line at visiting Antarctica. He'd come to realize that Jack was stalling. After talking to his Dad about it over e-mail, he figured out that Jack probably didn't want to have to kill Nate. Nate told Sammy that humans could be squeamish about killing friends and acquaintances.

So, Sammy eventually put his tail down (as he didn't have a foot) and told Jack that it was time - he was ready to go back and take up his duties from his dad. Jack, delayed it a little more by insisting that they go back to Japan and buy an appropriate sword. He even stretched it a little more by getting lessons in how to use the sword. But, eventually, he'd learned as much as he was likely to without dedicating his life to it, and was definitely competent enough to take the head off of a snake. It was time to head back and see Nate.

When they got back to the US, Jack got the old RV out of storage where he and Sammy had left it after their tour of the fifty states, he loaded up Sammy and the sword, and they headed for the desert.

When they got to the small town that Jack had been trying to find those years ago when he'd met Nate, Jack was in a funk. He didn't really feel like walking all of the way out there. Not only that, but he'd forgotten to figure the travel time correctly, and it was late afternoon. They'd either have to spend the night in town and walk out tomorrow, or walk in the dark.

As Jack was afraid that if he waited one more night he might lose his resolve, he decided that he'd go ahead and drive the RV out there. It was only going to be this once, and Jack would go back and cover the tracks afterward. They ought to be able to make it out there by nightfall if they drove, and then they could get it over tonight.

Jack told Sammy to e-mail Nate that they were coming as he drove out of sight of the town on the road. They then pulled off the road and headed out into the desert.

Everything went well, until they got to the sand dunes. Jack had been nursing the RV along the whole time, over the rocks, through the creek beds, revving the engine the few times they almost got stuck. When they came to the dunes, Jack didn't really think about it, he just downshifted and headed up the first one. By the third dune, Jack started to regret that he'd decided to try driving on the sand. The RV was fishtailling and losing traction. Jack was having to work it up each dune slowly and was trying to keep from losing control each time they came over the top and slid down the other side. Sammy had come up to sit in the passenger seat, coiled up and laughing at Jack's driving.

As they came over the top of the fourth dune, the biggest one yet, Jack saw that this was the final dune - the stone, the lever, and somewhere Nate, waited below. Jack put on the brakes, but he'd gone a little too far. The RV started slipping down the other side.

Jack tried turning the wheel, but he didn't have enough traction. He pumped the brakes - no response. They started sliding down the hill, faster and faster.

Jack felt a shock go through him as he suddenly realized that they were heading for the lever. He looked down - the RV was directly on course for it. If Jack didn't do something, the RV would hit it. He was about to end humanity.

Jack steered more frantically, trying to get traction. It still wasn't working. The dune was too steep, and the sand too loose. In a split second, Jack realized that his only chance would be once he hit the stone around the lever - he should have traction on the stone for just a second before he hit the lever - he wouldn't have time to stop, but he should be able to steer away.

Jack took a better grip on the steering wheel and tried to turn the RV a little bit - every little bit would help. He'd have to time his turn just right.

The RV got to the bottom of the dune, sliding at an amazing speed in the sand. Just before they reached the stone Jack looked across it to check that they were still heading for the lever. They were. But Jack noticed something else that he hadn't seen from the top of the dune. Nate wasn't wrapped around the lever. He was off to the side of the lever, but still on the stone, waiting for them. The problem was, he was waiting on the same side of the lever that Jack had picked to steer towards to avoid the lever. The RV was already starting to drift that way a little in its mad rush across the sand and there was no way that Jack was going to be able to go around the lever to the other side.

Jack had an instant of realization. He was either going to have to hit the lever, or run over Nate. He glanced over at Sammy and saw that Sammy realized the same thing.





Jack took a firmer grip on the steering wheel as the RV ran up on the stone. Shouting to Sammy as he pulled the steering wheel, "BETTER NATE THAN LEVER!", he ran over the snake.



-
My sincere apologies to anyone that actually read through all of that.

Think_Tank
5th March 2010, 08:12 AM
I don't want your apologies. I want your head on a frikkin' spike for writing that much build-up to a punchline that only works in an American accent :D

ETA: for those of you who like truly dire puns, look no further than the cartoon series "Dangermouse". One of my all time favourites :D

paiute
5th March 2010, 08:46 AM
So, there's a man crawling through the desert...

Jack took a firmer grip on the steering wheel as the RV ran up on the stone. Shouting to Sammy as he pulled the steering wheel, "BETTER NATE THAN LEVER!", he ran over the snake.


...what? Oh, sorry, I dozed off. Could you start over?

The Norseman
5th March 2010, 09:50 AM
I don't want your apologies. I want your head on a frikkin' spike for writing that much build-up to a punchline that only works in an American accent :D

ETA: for those of you who like truly dire puns, look no further than the cartoon series "Dangermouse". One of my all time favourites :D


Dangermouse is awesome! Pinky and the Brain is good and Darkwing Duck. It's from the latter that I always remember this line, between DW and his sidekick (at least I think that who it was):

"How do I get down the side of this building?"

"You rappel."

"Sorry, DW, it must be the cologne."

yomero
5th March 2010, 10:05 PM
So, there's a man crawling through the desert.....

Fishstick, have you considered going to Guantanamo and work interrogating the detainees? Unless they confess their terrorist plans, they'll have to hear your story and the punch line. Guaranteed to work better than waterboarding.

Joking aside, I think you are a very good writer. I'm impressed.

Fishstick
6th March 2010, 01:10 AM
So, there's a man crawling through the desert.....

Fishstick, have you considered going to Guantanamo and work interrogating the detainees? Unless they confess their terrorist plans, they'll have to hear your story and the punch line. Guaranteed to work better than waterboarding.

Joking aside, I think you are a very good writer. I'm impressed.

I wish I could take credit, but it's not my writing. I do love introducing new people to it though!

beeksc1
6th March 2010, 09:27 AM
A pun is a form of word play that may be used to torture innocent bystanders when there is no blackboard available to draw one's fingernails across.

Nice.

Samuel Johnson disparagingly referred to punning as

the lowest form of humour.


But I disagree with that. I think insult humor is one of lowest common denominators of comedy.

According to Walter Redfern,
To pun is to treat homonyms as synonyms.


Unsourced
A man sent a list of ten puns to a friend, hoping at least one would make him laugh. No pun in ten did.


Puns tend to be corny; nonetheless, I often still enjoy mundane humor.

quarky
6th March 2010, 02:52 PM
The subject of comedy isn't funny. Carlos mencia isn't funny. Bob Hope wasn't funny. Bud Abbot wasn't funny. It doesn't matter much.

The Man
6th March 2010, 02:58 PM
Nice.

Samuel Johnson disparagingly referred to punning as


But I disagree with that. I think insult humor is one of lowest common denominators of comedy.

According to Walter Redfern,


Unsourced


Puns tend to be corny; nonetheless, I often still enjoy mundane humor.

Well I don’t know about “one of lowest common denominators of comedy”, but insult humor can be very difficult, quite rewarding and beneficial to the recipient if not dangerous to the performer. Sure most people might laugh at a good pun, and if they don’t, big deal no harm done. However getting someone to laugh by you insulting them, now there’s a talent. Mind you I’m not talking about insult humor simply intended to shock or offend (which I don’t think you can actually call humor), but specifically about getting people to laugh at their own misfortunes (if only just a perceived or extremely exaggerated misfortune). That’s one of the benefits of humor and insult humor in particular, it can help us to not take ourselves and our predicaments too seriously.

beeksc1
6th March 2010, 03:13 PM
The Man, right on. I did not think of it that way.

Here is some more comedy that I wrote. I would like to share it.

Leaves are like clothing for trees. But, it is not like clothing falls of people when summer ends. If this were the case, a popular culture infused female would be concerned that her clothes made the floor look fat. And if it were the case that clothing fell off people during autumn, a typical male’s conception of foreplay would go from negligent to non-existent.