In trying to conceive and develop a new serial super hero there are just so many precedents:- Robin Hood, Superman, Sherlock Holmes, Batman, Dick Barton, Sexton Blake, etc., etc., that one inevitably overlaps and re-states basic qualities common to the super-hero archetype. However, the thing that one must consciously avoid is pilfering a bit here and a bit there to make up a synthetic patchwork character.
TAROT in conception, in intention, is a super-hero. He has his again inevitable and dramatically invaluable accomplices. To try and develop a solo superman, a hermit-like hero with no intimate associations would, particularly when considering a children's television series, be dramatically difficult and scarcely desirable since it would present the character as isolated and cold which would alienate rather than encourage the viewer to identify with him. Although many mysteries surround TAROT, although at times he may appear enigmatic, his anonymity and for want of a better word 'magical' qualities will I think add a dimension of expectant excitement to the basic detector - righter of wrongs - solver of mysteries, but throughout it must be made very apparent that TAROT has all normal human attributes, vulnerability, fallibility, affection, fear, etc.
Frankly we don't know enough about the perceptual process of children's television viewing, what elements attract and hold their attention, what bores them, with what type of figures they identify and in what way, what is seen as real and what as fantasy, but from my own experience it is impossible for any writer/actor/director to hold his audience if the characters are 'unbelievable' (a difficult term to define in this context).
In TAROT I want to develop an antitheses to the technocratic detective … intercontinental two-way radios secreted in lighters, microcamera cuff links, instant solution by computer, boffinism, these sorts of things only add to the dehumanisation of the character, his dependence on gadgetry and gismos, the bacchanalia of our technocratic turn-on reduces him from a human into a humanoid. TAROT solves his mysteries by a pot-pourri of highly developed human attributes:- advanced intuition, premonition, inscrutable logic, acute intelligence, a poetic sense of human weakness and predictability and a garnishing of what might be called unusual psychic powers, hypnosis, telepathy, extra-sensory perception, all at one time condemned as music hall chicanery but now openly accepted by scientist and psychologist, though still holding a sense of mystique (magic) for the layman.
Having said this it is important not to stray into the territory of science fiction. TAROT, faced with a threatening situation cannot melt walls with Kryptonic eyesight, when presented with a devious adversary cannot read his mind or use any exaggerated, extra human, power to gain advantage. His overall advantage is that his natural human accomplishments, both mental and physical are more highly developed and co-ordinated. Also acts of fortuitous coincidence must be used to a minimum if at all, kids just don't accept the easy way out and once one has indulged in a piece of lazy production the believability that the hero really was vulnerable, really was threatened is lost and this can only lead to a rejection of the character and his exploits.
TAROT's field of activity again has precedents but I hope he will be his own blend of super sleuth. He can put right what the law cannot because he works outside the law (that is not to say in any way in opposition to it). But his justice is a poetic one rather than a more prosaic, merely lawful one, he embodies a moral attitude but he is also an avenger, a knight errant, a twentieth century Robin Hood with a pinch of Merlin, a dash of Houdini with a natural genius for disguise, but a character anchored in reality, the reality of our times. Sometimes his methods might be questionable but his battle of wits always conclude with the triumph of good over evil.
The attitude of the authorities to TAROT is one of non-comprehension as to his methods, unawareness of his activities, and suspicion engendered by his superiority. Not as in the case of say Sherlock Holmes or even The Saint where they bear the cross, indeed sometimes even invite liaison with interference in police matters. TAROT never causes the police any trouble and often provides them with invaluable information that always arrives anonymously. TAROT tends to 'use' the police, of this they are quite aware but consider his contributions justify their pinched pride. Although I mention the police they will rarely be involved, TAROT has no particular senior officer at New Scotland Yard that he favours or contacts. Our stories are set entirely around TAROT, his accomplices, his clients, desperate people to whom the normal procedures of detection and justice are inadequate or impossible, because of certain circumstances to enlist, and TAROT's adversaries often, though not always recurring villains, formidable kings and queens of crime, the royalty of the underworld who have done battle with TAROT before and of whom TAROT has a very special knowledge and a crusading desire to see their machinations terminated permanently. These of course can be developed gradually and other writers can add their own. A quartet of baddies I have thought of are DOG, Diogenyes Osimandius Gronk, the ultimate assassin, THE ACE OF WANDS the most brilliant art thief of all time, MADAME NO FACE, international villainess who dabbles in anything from abduction and blackmail to high finance con-tricksting, and the MORTISTI, a black hooded fraternity with a special vendetta against TAROT for his interference win their many and monstrous crimes. A few other titles I just enjoyed jotting down were:- TARANTULA - BARON DE GULDENSTUBE - CALIOSTRO - LE COMPTE AUGUSTE - SAUL GOODKIND - COLONEL BONESTEEL - TARZANA. With this cast of villains, because the criminal passion they share makes them abnormal in a general sense, we can afford to be a little more bizarre, more flamboyant, but they too must be 'believable' in their own context and in their special relationship with TAROT … Mad scientists out to revenge themselves on mankind, ex S.S. top brass, escapees from Nuremberg determined to establish a fourth Reich, are out!
Now, TAROT as a personality. I think he should be about thirty, extremely attractive without that tinge of latent femininity apparent in some actors. Tall, lithe, physical without the least suggestion of a front row forward. Of course he can more than adequately defend himself from direct physical assault, but would do so with the grace of a matador rather than the savagery of a commando, and if physical violence can be avoided, with TAROT it is, his interest is to solve mysteries to combat crime, not prove his toughness, however this is not to say he is in any way passive. Since we have to appeal to a wide age range, stories have to work on two basic levels, development of visual impact with action sequences for the younger viewers and maintain a credible storyline with exciting implications to hold and involve the imaginations of the older children. Again, to add to my list of negatives, studio "punch ups" are rarely successful, difficult and time consuming to shoot, and tend more often than not to obtain the opposite to the excitement they were intended to. Of course confrontations must occur, direct threat, capture and escape, inquisition of the hero by villain and minions, cliff hanging are all part of the whole concept of this type of serialisation, but TAROT's Houdini-ish qualities, both mental and physical, supported by the particular talents of his associates will be our forte rather than the more banal Batmanesque gymnastics.
TAROT lives in a Japanese styled apartment, somewhere in London (Mayfair or the converted top of a Southwark Warehouse?). Because of moveable walls, sliding panels, adjustable multi level flooring, minimal furniture and decoration, an architectural phenomenon with endless permutations, where the delicacy of the East meets the functionalism of the West, we can, throughout a lot of episodes avoid the visual boredom that can evolve if one of the major sets is a domestic one. Again, this would depend a great deal on how the set is used by directors, we must get across an exciting, attractive and active working environment not a clinical box, TAROT is a crusader, detective and illusionist not a surgeon.
TAROT's wardrobe. The tradition is that the hero has some sort of uniform with which he is immediately associated and recognised, they may differ in the extreme from Batman's cloak and hood to John Steed's bowler and buttonhole. I think rather than this, we make TAROT's wardrobe extensive but significant to his character overall. To totally contrast the futuristic feel of his H.Q. I feel that he should be very elegant in a sort of up-dated Pre-Raphaelite way, with a penchant for pure silk, fine velvet, and unusual headwear. What must be avoided is the itinerant dandy type, a sort of Beau Brummel of crime, also any form of campishness would be anathema. I realise of course that this is encroaching into the designer's territory but I'm sure I don't need to stress the importance of this aspect of mounting a series personality. A great deal of character construction can be done with odd idiosyncrasies that our hero has, his love of certain books which in his odd moments of relaxation he reads and re-reads. "Alice Through The Looking Glass" is a firm favourite, his passion for ultra modern jazz, loves playing scrabble, crossword puzzles, Russian cigarettes etc., these of course can be discussed and developed as we go. Also, Eisenstein advised his students when they were developing characters to try and associate them with animals. When I think of TAROT, birds come to mind, The hawk? Too savage. The owl? Too sagacious. The crow? Too sly. Play across the character. TAROT has a pet toucan (surely the most absurd of birds since the extinction of the Dodo) named OSCAR, and like the witch's cat he is a sort of familiar at times taking on almost a human identity. One could even play with the idea that OSCAR is a reincarnation and that TAROT can even converse with him.
TAROT has three accomplices/friends/assistants/associates whatever you want to call them … LULLI … MR SWEET … and SAM. Each have their own special relationship with TAROT, their own particular place in his strange organisation and their own specialised functions. They know each other intimately but are rarely all involved together, although they work with and for TAROT they also have a certain autonomy in as much as they quite often act as individuals, quite often pair up, less often trios, occasionally all four become 'trapped' together. Bit with TAROT very much in the front of most of the activity it will be useful to have his faithful three to counterpoint his activities by using parallel dramatic build up i.e.:- TAROT unknowingly heads for big trouble, LULLI aware of the danger potential desperately tries to get to him before the sky falls in … or .. MR SWEET suddenly realising that he has been duped and inadvertently exposed TAROT to the menace of one of our hero's most persistent and vengeful adversaries enlists the aid of LULLI or SAM or both to avert catastrophe. As well as having their unique roles in TAROT's team they should have their own area of appear to the kids. LULLI is the beautiful girl to compliment TAROT physically, a hint of romance but used with delicacy, she is young, vital, at times naïve, vulnerable because of her femininity but also has the guile unique to females. MR SWEET is older, fifty plus, avuncular, eccentric, quirky, amusing and loveable, though definitely not a donnish teddy bear, he is quite capable of amazing and very unorthodox action if a situation demands it. SAM is TAROT's 'man' (not servant), provides muscle if required, a sort of heavy but by no means stupid, more the reformed rogue type, in his mid thirties, done everything, been everywhere, (even to prison), knows everyone who one shouldn't know, impulsive, cheerful, impudent, tough and totally dedicated to TAROT.
Between eighteen and twenty, she should compliment but at the same time contrast TAROT in looks - if he is dark she must be fair, if he fair - she dark etc., but they must both be ultra attractive. She has a perfect star birth mark on one cheek.
Although she is well aware of the latest gear she tends to be very unconventional and also unpredictable with her clothes, one day she might turn up looking like something left over from a psychedelic peep show, the next as though she had stepped from the pages of vogue. LULLI is loaded money-wise, her father is a big man in the city, fingers in just about every profitable pie, a brilliant and respected speculator. LULLI is a clever girl but got bored with university where she was studying philosophy and left; in fact boredom is LULLI's arch enemy, she is a compulsive "doer" but until she met TAROT had no burning ambition to burn up her incredible energy. She often amuses herself by assuming false identities and taking on weird jobs, a London Transport clippie, she edited an underground paper, worked for a while in cabaret as a knife thrower's dolly target etc., etc. This talent for chameleon-ability is very useful to TAROT and quite often we discover LULLI as a hat girl at a club, a masseuse at a health far or temporary secretary to an eminent politician.
Unlike TAROT with his brilliance for total disguise, LULLI is always herself but in different and very varied circumstances. LULLI became involved with TAROT quite by accident when they realised simultaneously will passing in the street that they had an advanced telepathic communication; since, LULLI has worked closely with TAROT and has proved invaluable if at times a little, to say the least, precocious.
LULLI worships TAROT but never gets more than an encouraging hug or thank you kiss on the forehead. I had originally thought of giving her a fantastically fitted out houseboat on Chelsea Reach, but I think she is more of a high class gypsy and tends to move around a lot, never staying in a flat - castle - hotel - or room over a strip club, too long.
Owns an antiquarian bookshop in Bloomsbury. (The second of the permanent/recurring sets). He has an international reputation as a lepidopterist and entomologist, people travel from all over the world to acquire rare first editions or exchange theses on ants with him. But MR SWEET is also known by a much smaller enclave of people as the only person that can put them in touch with the famous yet anonymous TAROT. MR SWEET has two major roles to play in the organisation, the first as front man and go between, adventures begin with someone in trouble approaching MR SWEET in the hope that he will consider their dilemma important and interesting enough to enlist the very unique services of TAROT on their behalf. Secondly, MR SWEET has a photographic memory and can almost always be relied upon to provide TAROT with obscure items of information and equipment that he hay have urgent need of. MR SWEET, because of his amazing capacity for absorbing facts is a sort of walking computer but has a distinct edge over his transistorised counterpart in that he has the unique human understanding of the illogical. MR SWEET and TAROT are very close, but when they meet there is also a strange formality between them. MR SWEET is always addressed as "MR SWEET" by all including TAROT. Also MR SWEET is the only person who knows the secret of TAROT's true identity, even our hero is in the dark here - he may be the heir to a great fortune - the offspring of a diseased genius - the son of a circus clown - or he may even be extra terrestrial. Who knows - only MR SWEET - and he's not saying.
SAM has been in his time seaman, grave-digger, fish porter, fair booth boxer, bodyguard to a playboy millionaire, but when he met TAROT he had hit an all time low and was busking around the smoke as a sack and chain man for a worn out old escapologist. SAM spent two short spells in prison, the first for housebreaking, the second for his part in a greyhound doping racket. When TAROT met the man he saw an immediate potential and so he invited SAM to become his chauffeur and has over a period of a couple of years trained Sam to use his natural abilities and initiative. Now, because SAM lives with TAROT he knows a great deal about his methods, even so TAROT manages at times to totally mystify SAM. He has incredible "connections" all over London and in most of the provincial major cities, there are a lot of people who owe SAM "favours" and he has no hesitation in using his contacts to help TAROT. SAM likes to think of himself as a bit of a philosopher and writes very funny bad poetry which he is immensely proud of. He should not be developed as the all too obvious cockney light relief, nor as the east end heavy but as a very human and likeable guy who has seen a lot of life in a short time, knows a lot of people, but has found in his work with TAROT something really worth doing at last. Of course he can be very amusing and has his own inimitable way of speaking but he can also be as hard as nails and quite ruthless if TAROT, LULLI or MR SWEET are in any way threatened. He's in his mid thirties, well made, could easily pass for a fighter, dresses very simply, again to contrast TAROT's elegance, always in black, ready for a fast car ride, breaking into a building, abducting someone, anything that TAROT might ask of him. SAM should be a natural con-man and everyone's favourite uncle.
Portly, distinguished, arty gentleman walks vacantly down road, furled umbrella on elbow - stops - opens umbrella, holds it over head - strange - sunny day - fast car draws up - door opens - gentleman enters obediently - door slams - car whispers away.
Episode title "HUMPTY DUMPTY HAD A GREAT FALL" supered over.
Mr Sweet in shop studies section of live ant hill in glass vivarium - enter Lady Landay wide of Sir Gerald, world's most famous portrait painter - some camouflage talk about rare book on Da Vinci - then she breaks down and begs Mr Sweet to contact TAROT on her behalf.
Mr sweet whizzes through London on bike - up on pavement to get round traffic jam etc.
TAROT amazes Sam with disappearing box illusion - ultra mod jazz oozes from hidden hi fi - Mr Sweet enters - gives brief account of Lady Landay's story - husband receiving mysterious 'phone calls - leaves house - returns late same night or next morning exhausted - no explanation - she doesn't want to contact police for fear of publicity - TAROT interested,
Lulli in park exercising two salukis - suddenly freezes - TAROT contacts her telepathically - come!
TAROT tells Lulli she is going to have portrait painted by Sir Gerald - fills in details.
Exterior large, very rich studio/house Chelsea - Sam hidden in nearby doorway - watching - waiting.
Lulli, dressed in Isadora Duncan flowing robes poses - Sir Gerald painting - very solemn - Lulli getting bored - and stiff - 'phone rings - he answers.
TAROT eavesdrops on extension - Lady Landay anxiously by his side - "Humpty Dumpty sat on a wall" etc. simply recited.
Sir Gerald makes hasty excuse to Lulli - quickly leaves studio - Lulli rushes to window and signals to Sam.
Sir Gerald hurries through Chelsea umbrella on arm - Sam tails - pass big double gates - Sam grabbed - pulled in behind gates - same car pulls up - Sir Gerald gets in - two men run from cover of gates jump in - doors slam - car screeches away.
TAROT steps from shadows as if from nowhere making mental note.
Freeze frame TAROT memory two men and car.
Sam crawls onto pavement hardly conscious.
COMMERCIAL BREAK.
Lulli dresses Sam's head - Lady Landay reveals that her husband goes to health club/clinic once a month - worried about weight - Sir Gerald unexpectedly returns - everyone taken by surprise - Sam spins yarn that he and TAROT are framers - Sir Gerald gets angry - he sent for no framers - throws them out - re poses Lulli and carries on with painting as if nothing happened.
TAROT'S H.Q. - plan of action - Sam trace car - Lulli stick to Sir Gerald - TAROT will investigate health club - Mr Sweet co-ordinate.
Sam finds car parked in alleyway at site of famous auction firm - chauffeur delivering large packet - Sam uses skeleton key to hide in car boot.
Lulli bored with being painted contacts TAROT.
TAROT searching through health club - weightlifting equipment - vibrator belts - rowing machines - steam baths - all deserted - but TAROT's movements closely observed on closed circuit.
Car boot opens slowly - chauffeur smiles down at Sam - menacingly pointing Luger at him.
TAROT searches corridor of rooms first few reveal nothing suspicious.
Anonymous villain - all that we can see are jewelled hands on silver topped cane in shape of an eagle perched on a star - watches TV screen closely.
TAROT enters strange room - in centre weird chair contraption - at far end control panel behind tinted glass.
Lulli has sudden telepathic danger flash - leaps from pose and screams for TAROT to beware.
Sir Gerald so taken aback falls - pulling easel and painting on top of himself.
The heavies close in on TAROT in chair room.
VTR replay of last seen episode one - Lulli telepathic flash - TAROT in danger.
Episode title "THE ACE OF WANDS" superimposed over.
Two heavies move in - corner TAROT - but underestimate him - two deft blows - all over in a second.
Master villain watches defeat of minions on closed circuit - angrily smashes cane on floor.
TAROT slips silently from chair room - leaving two victims just regaining consciousness.
Lulli hurriedly changes behind screen - Sir Gerald protesting on other side - Lulli apologises - rushes from studio.
Sam bound to rowing machine in deserted health club - looks annoyed with himself for getting nicked.
Lulli leaps into white mini moke - roars away with screech of tyres - nearly runs down onion man and bicycle - he curses her in broken English.
TAROT with Mr Sweet - discussing chair room - TAROT making fairly accurate sketch - Mr Sweet thinks hard.
Lulli tearing through London - very anxious - can't get through to TAROT - suddenly makes it.
TAROT stops Mr Sweet in full flood - contacted by Lulli.
Lulli is so relieved she nearly runs down callow young policeman on point duty - he steps forward ominously - but Lulli's smile strips him down to his size tens and he waves her on.
Sam shown in by chauffeur at gunpoint to Master villain's headquarters.
Lulli arrives - Mr Sweet has theory on chair but will not commit himself until he has seen it - TAROT suddenly worried - where is Sam? - sends Lulli to find out.
Master Villain sits in shadows - all Sam can see are jewelled hands and silver mounted cane - when questioned denies even knowing TAROT - but the master knows better.
TAROT plans a second look at health club.
Lulli contacts several of Sam's better known friends - sorry they can't help - no one has seen Sam.
Sam strapped in strange chair. Master operates from protection of screen - room goes dark - chair starts to revolve - weird light effects strobe walls - chair and victim spin faster and faster - lighting and movement begin to mesmerise Sam - Master's voice drones instructions into Sam's mind.
COMMERCIAL BREAK.
Night - TAROT, Lulli, Mr Sweet just about to set off - Sam suddenly turns up - seems normal - TAROT suspects something - says nothing.
Master villain waits patiently in front of cameras - congratulates himself on strategy.
Lulli and Mr Sweet take Sam for normal - TAROT pretends to but cleverly uses reflection of watch face to hypnotise Sam - Lulli and Mr Sweet astounded at TAROT's behaviour - until Sam is questioned.
When Sam describes villain's hands and stick TAROT immediately recognises THE ACE OF WANDS - Sam's description of chair matches Mr Sweet's theory - TAROT still plans to visit club.
Quartet whizz through sleeping London in moke - Mr Sweet's bike strapped on back - Lulli very angry when TAROT tells her only he and Sam to go in.
ACE OF WANDS gets report of two people moving around outside - delighted - checks that reception party ready.
TAROT and Sam scale all like two flies - get in through second floor window.
ACE picks up expected intruders on cameras.
As Sam and TAROT move through blacked out gymnasium small army move in behind.
ACE gives order over speaker system - lights turned on - TAROT and Sam faced by ACE OF WANDS' gang.
ACE OF WANDS finally appears a wizened little Chinese man - very old - very bent - very evil - limps over to TAROT.
ACE gives Sam order - Sam grabs TAROT and holds him in vice like grip - TAROT struggles.
The ACE extends him long silver mounted cane and touches TAROT's temple - small but powerful electric shock knocks our hero unconscious.
Lulli waiting excitedly in moke passes out at same time as TAROT - Mr Sweet anxiously tries to revive her and wonders what is happening inside club.
Sam is just like a dummy.
ACE OF WANDS overjoyed at having TAROT his victim at long last - orders him taken to steam room - a nasty death for TAROT runs round the evil little man's mind.
Lulli unconscious.
TAROT unconscious and about to be lobstered.
Sam apparently demobilised by some strange force.
Mr Sweet in a sweat.
Replay end scenes eps 2 - Lulli unconscious - TAROT unconscious locked in glass steam cabinet - Sam vacant - Mr Sweet in sweat.
Episode title "ALL GOOD CHILDREN GO TO HEAVEN" over.
ACE OF WANDS turns on steam - eagerly watches TAROT tortured by heat and steam.
Lulli regains consciousness - Mr Sweet relieved - both well aware TAROT in great danger - but!
ACE mocks TAROT as steam torture mounts - TAROT now fully conscious - his mind one step ahead although in seemingly hopeless position - plays on ACE's one great weakness - pathological conceit.
Lulli all for bombing in and mixing it - Mr Sweet manages to temporarily restrain her - repeats TAROT's very specific instructions.
ACE reprieves TAROT for moment - he and Sam + three goon bodyguard taken to secret studio - there is Sir Gerald putting finishing touches to most incredible copy of Mona Lisa - all around photographic details - eyes - hands - smile - bucolic background etc., Sir Gerald works on industriously - vacantly - obediently.
Lulli can't control anxiety any longer - slips Mr Sweet and makes it into ACE's H.Q. with Sam's 'keys'.
Mr Sweet - against better judgement and TAROT's explicit orders - taking bag of tricks - just in case - follows Lulli to try and stop her before she cocks it all up.
ACE - bloated with pride explains his plot - intends to use the highly respected and totally trusted Sir Gerald to substitute brilliant forgery for real Mona Lisa when it arrives for exhibition in London three days ahead - his lifelong ambition - the greatest art theft of all time - the culmination of an outstanding criminal career.
Lulli in gymnasium - turns on all mechanical equipment - belts belt - horses gallop - big din - Lulli hides.
COMM BREAK
ACE sends all but one of the three goons to investigate commotion - TAROT grateful for timely intrusion - guesses must be Lulli,
Mr Sweet joins Lulli in hiding - goons wade in find no one - stop machines - start to search.
TAROT signals to Sam - Sam relieved - action at last - he can stop acting - puts down one remaining guard - ACE tries to fight TAROT off with electric shock want - TAROT easily disarms him and hands him by clothing from hook on wall.
Goons coming nearer and nearer where Lulli and Mr Sweet are in hiding - dangerous.
Sir Gerald - still under fluence - carries on working through all excitement - quite unperturbed.
Mr Sweet dips into bag of tricks supplies two gas masks - then using special laughing gas grenades sets about heavies - laughing like drains they fall around stumbling like blind giggling mice over equipment.
TAROT - using a camera flash gun breaks fluence on Sir Gerald - no time to explain details to blinking unbelieving painter.
ACE's mob fall easy prey to Mr Sweet and Lulli armed with indian clubs - soon all locked in steam chamber.
TAROT leaves Sam to get the still unbelieving Sir Gerald away safely.
TAROT goes to chair room and sets mechanism for self destruct - the chair starts to revolve - lights strobe - TAROT gets out fast!
Mr Sweet and Lulli make it out safe.
Sir Gerald - still clutching fake Mona Lisa is hustled to safety by Sam.
The fluence chair dervishes round in the doomed tinted room.
The ACE OF WANDS hangs like some apoplectic puppet - screaming for help - threatening revenge on TAROT if it takes the rest of time.
Mr Sweet and Lulli meet up with same and Sir Gerald back at the moke - where's TAROT?
The underground explosion blows a manhole cover into the air like a tin tiddlywink.
Lulli desperate - no contact with TAROT.
The police arrive to investigate explosion.
TAROT casually steps from nowhere lighting cigarette - with the ACE's wand as macabre memento - Lulli overjoyed.
Quintet pile into moke - fake Mona Lisa strapped on back with Mr Sweet's bike - moke disappears into London dawn.
FINI
"THE SMILE" is a rough breakdown of a possible opening three parter in which characters and style could be established. If we are considering blocks of thirteen programmes I think they should be divided into stories of two, three and four episodes; with five, six and seven part stories it is very hard to sustain a high action level they tend to sag in the middle.
An eminent Nobel prize-winning physicist, an old and dear friend of Mr Sweet, Doctor Emmanuel Eckdorf has his lab burgled while he is attending an international scientific peace conference in Zurich. On his return the stolen equipment causes him little concern but the thief has also taken extensive notes and a near completed prototype of a device that Eckdorf has been developing to help doctors throughout the world combat paralysis. When he started his work some five years previous his intention was totally philanthropic, but as his experiments had drawn nearer and nearer to completion he slowly realised that his invention, used in reverse would have terrible potential, a weapon of devastating power. He had stopped work immediately and had fully intended, particularly after his experience at the peace conference, to return and destroy everything to do with his monstrous brainchild before anyone, even the British government can find out about it. In a state of near panic he turns to his old colleague Mr Sweet. TAROT when told the story acts immediately. Sam, with his underworld contacts tracks down Teddy Talk, a small time tea leaf who 'did' the lab, but before TAROT & Co can get to him he vanishes. Further investigation from the quartet reveals that he has fallen into the hands of the MORTISTI probably TAROT's most evil and powerful adversary. The MORTISTI realise that they have something that could be worth millions. Doctor Arlon, Eckdorf's assistant suddenly disappears like Teddy Talk did, but he proves little use to the gang. TAROT realises that the MORTISTI's next move, their only possible move, will be to try and get hold of Eckdorf to complete the experiment so that they can offer the monstrous reversed invention to the highest bidder in the international power game….TAROT is briefed by Eckdorf in the rudimentary knowledge he will need to impersonate the old scientist. When the MORTISTI discover that TAROT is involved, protecting Eckdorf, this spurs them on to even greater efforts. TAROT and his trio play a convincing game of protection but cunningly allow TAROT, disguised as Eckdorf, to be abducted and taken to a secret laboratory hidden away in a monastery that the MORTISTI use as one of their headquarters when operating in this country. A complex web of incidents occur and TAROT posing as the old scientist ostensibly complies with the gang's threats and completes the invention. The Mortisti approach a number of interested foreign powers who send representatives to witness a demonstration before the weapon is put up for auction. The demonstration turns into a farce thanks to TAROT/ECKDORF and the monster machine rather than producing a paralysing force field intended to stun and amaze the audience of secret service personalities merely produces ear-splitting noises and nose-holding smells.
TAROT with the help of Lulli and Sam escapes with all the pertinent notes etc for Dr Eckdorf to check through and then destroy. A very dangerous situation in the balance of power has been averted and our hero has once more defeated the MORTISTI who have been made a laughing stock, consequently they will have to retired for a while until the ignominy has been forgotten in the world of international crime. But the Eckdorf incident has only provided the Mortisti with yet another virulent reason to get id of the scourge called TAROT!
This is a brief synopsis to a four parter that I think could be excitingly developed. However, quite frankly I can't see much point in paragraphing possible storylines until we have really worked out just what we want from the series.
This can only be done by throwing the basic ideas around and around until we arrive at something. With a totally new series to create we can, in theory, do anything, make the stories move bizarre more fantastic or the opposite, more documentary more realistic, factual, or indeed, we needn't tie ourselves down to any single area of appeal, some could be amusing, some quite frightening, others straight cliff hangers with the emphasis on action rather than intricate plot development. Of course I have some pretty clear ideas on how I would like the idea developed which I hope come across in this breakdown, but one is very open to pushing it around until we arrive at a workable solution. So please treat these notes more as a first working drawing from which we have together to develop a blueprint that is going to be exciting to work on and mutually acceptable.