ORION FIGHTS FOR EARTH !!

“Jack “King” Kirby was the most influential superhero artist of them all, with an imagination and range that sat comfortably inside a visionary tradition running all the way from Hebrew scriptures and epic mythology through William Blake and Allen Ginsberg. Born Jakob Kurtzberg in August 1917—Jack Kirby was the one of his many pennames that stuck—Kirby grew up in a tenement on Manhattan’s Lower East Side. As a member of the Suffolk Street Gang, he was familiar with the thrill of full-on physical conflict in a way that many of his bookish young contemporaries were not. Indeed, unlike Joe Shuster or Bob Kane, who drew fights at a sniffy remove, Kirby dragged his readers directly into the wild flail of fists and boots that typified the real combat he’d experienced. 

His figures captured how it felt to somersault through a crowd of antagonists. His heroes and villains clashed in bony, meaty brawls that could sprawl across page after page. Superman might wrestle a giant ape for a panel or two, but in Kirby’s hands, the fight scenes were a thrilling end in themselves.

Kirby served in World War II as a private first class in Company F of the Eleventh Infantry. He landed on Omaha Beach at Normandy two months after D-day in 1944 and proceeded with his unit into occupied France. There he saw action at the battle for Bastogne, Belgium, enduring frostbite so severe that Kirby almost lost both feet and was finally mustered out with a combat infantry badge and Bronze Star for his trouble. His memories of the war informed his work for the rest of his life, but nonetheless, Kirby portrayed violence as a joyous expression of natural masculine exuberance. 

When American Nazis marched into the building where Simon and Kirby had their studio, demanding the blood of the Captain America creative team, it was Jack who rolled up his sleeves and went to sort them out."

“As the monster-child, Orion, grew to manhood on New Genesis, his life dramatized debates of nature versus nurture, good versus evil, youth versus age, tyranny versus freedom. Kirby was dealing with the big dualities and had assembled his own gleaming pantheon to help him articulate the questions of the age.

Kirby told us that humanity’s better nature would inevitably prevail. That was the story, and we all knew it deep in our hearts. Kindness and understanding could turn even a demon into a holy warrior, but an angel could never be broken to the Devil’s service and would always find ways to soar and to be free. 

The war would never end, but the outcome was never in any doubt.”

BILL MOYERS: 

The mesmerizing character for me is —  

Darth Maul.

When I saw him, I thought of Satan and Lucifer in “Paradise Lost.” 

I thought of the devil in “Dante’s Inferno.” 

I mean, you’ve really — have brought from 

— it seems to me — 

from way down in our unconsciousness this image of —

of Evil, of The Other.

GEORGE LUCAS: 

Well, yeah. 

We were trying to find somebody who could compete with Darth Vader, who’s one of the most, you know, famous evil characters now. 

And so we went back into representations of evil. 

Not only, the Christian, but also Hindu and Greek mythology and other religious icons and, obviously, then designed our own — our own character out of that.

BILL MOYERS: 

What did you find when you went back there in — 

in all of these representations? 

There’s something …

GEORGE LUCAS: 

A lot of — a lot of evil characters have horns. 

It’s very interesting. 

I mean, you’re trying to build a icon of evil, 

and you sort of wonder why the same images evoke the same emotions.

BILL MOYERS: 

What emotion do you feel, George, when you look at Darth Maul?

GEORGE LUCAS: 

I think the first thing you’re supposed to react to is fear. 

You’re supposed to go,

 ‘Ooh. You — you wouldn’t want to meet him in a dark alley.'

And I’m not creating a monster. 

I didn’t want to create some ugly — somebody ripped out their intestines and threw them all over their head 

— and it’s — you can’t watch it. 

This is something …

BILL MOYERS: 

It’s actually mesmerizing.

GEORGE LUCAS: 

This is something that is more — 

it works in a different emotional way. 

It’s not repulsive, it’s just — 

It’s something you should be afraid of.

BILL MOYERS: 

Is the emotion you wanted from him different from the emotion you wanted from Darth Vader?

GEORGE LUCAS: 

It’s essentially the same in a different kind of way.

Darth Vader was a — a composite man. 

I mean, he was half-machine, half-man. 

And that’s where he lost a lot of his humanity is that he — 

you know, he has mechanical legs. 

You know — and he has mechanical arms possibly and he’s hooked up to a breathing machine. 

 

So there’s not much, actually, human left in him. 

This one is all human. 

And I wanted him to be like an alien, but I wanted him to be human enough that we could identify with him, because he’s not a sort of a monster we can’t identify with. He’s…

BILL MOYERS: 

He’s us.

GEORGE LUCAS: 

…he’s — yeah. 

He’s the evil within us.

BILL MOYERS: 

I’ve had psychotherapists tell me that they use “Star Wars” sometimes to deal with the problems of their child patients. 

And they’ve said that the most popular character among the children is Darth Vader.

GEORGE LUCAS: 

Well, children love power because children are The Powerless. 

And so their fantasies all center on having power. 

And who’s more powerful than Darth Vader, you know? 

And, some, you know, will be attracted to Luke Skywalker because he’s the good guy. 

But ultimately, 

We all know that Darth Vader’s more powerful than he is.

GEORGE LUCAS: 

And as time goes on, you discover that he is more powerful because— 

He's The Ultimate Father 

Who is All-Powerful.

BILL MOYERS: 

This is where I disagree somewhat with our friend Joseph Campbell who said that 

The Young Man has to slay his father before he can become an adult himself. 

It seems to me, and I think you’re right on here, that 

The Young Man has to identify — 

has to recognise and acknowledge that 

He is His Father 

and 

Is Not His Father.

GEORGE LUCAS: 

You know, Joe used to talk about the basic issues that create 

The Mystery of Life. 

Of, you know, birth and death, 

and I like to always add, 

 Your relationship with your parents. 

BILL MOYERS:

Do you know yet what is going to be the transforming of Anakin Skywalker into Darth Vader?

GEORGE LUCAS: 

Yeah.

BILL MOYERS: 

You already know that?

GEORGE LUCAS: 

Yeah, I know what that is. 

And it’s sprinkled throughout this episode. 

I mean, the groundwork’s been laid in this episode. 

And the — the film is ultimately about the Dark Side and the Light Side, and those sides are designed around compassion and greed. 

And we all have those two sides of us and that we have to make sure that those two sides of us are in balance.

BILL MOYERS: 

I think it’s going to be very hard for the audience to accept that this innocent cherub almost of a boy, who’s playing Anakin Skywalker, can ever be capable of the things that we know happen later on. 

And I’m sure you’ll take care of that but, you know, I look at Hitler and wonder what did he look like at eight years old, or Stalin …

GEORGE LUCAS: 

Mm-hmm …

BILL MOYERS: 

… or …

GEORGE LUCAS: 

Well, there are lots of — there’s a lot of people like that. 

I mean, you just — you see them all the time and you — that’s what I wonder. 

I wonder, 

'How can those people possibly exist? How could they live with themselves?' 

[ VODKA ] 

How could they — you know, what is it in the human brain that gives us the capacity to be as evil as human beings have been in the past and are right now.

BILL MOYERS: 

Well, you’ve been probing that for a good while now.

GEORGE LUCAS: 

Yeah.

BILL MOYERS: 

Twenty-five years. 

Have you come to any conclusions?

GEORGE LUCAS: 

I haven’t.

Neo: 

I only ask to say What I’ve Come to Say, after that, do what you want and I won’t try to stop you.

Deus Ex Machina: 

Speak.

Neo: 

The program ‘Smith’ has grown beyond your control. 

Soon he will spread through This City as he spread through The Matrix. 

You cannot stop him, 

but I can.

Deus Ex Machina: 

We Don’t Need You. 

We Need Nothing.

Neo: 

If that’s True, then I’ve made a mistake 

and you should kill me now.

Deus Ex Machina: 

What Do You Want?

Neo: 

PEACE.

(Zion: Temple entrance)

{Sentinels charge the temple entrance, then suddenly stop}

Niobe: 

What are they doing? 

• Morpheus lays down his Weapon •

*to Morpheus* 

What are you doing!?

Lock: 

Morpheus!

(01)

Deus Ex Machina: 

And if You Fail?

Neo: 

I Won’t.

(Zion: Temple entrance)

Niobe: 

{looks up and sees sentinels slowly circling} 

Neo.

Morpheus: 

He Fights for Us.

Epistemology: That’s a Myth Everyone Knows

“If xxxxx , He Shall Bring Death and Disaster down on us all...! —

Believe Me, I Know!”

But that’s just it Miss. Hawthorne –

Why Should We Believe You

and

How Do You Know...?

River Phoenix was Here

River Phoenix was Here.

He Mattered. 

He Matters Still. 

And He Will Continue to Matter,

Even Unto The Very Utmost

Ending of The World.

Curious, yet? Oh Good.

Oh, and — 

So Do You, just Incidentally.

Bed Canon

"Sarek's Son Spock" -- Gene Roddenberry talks to Mark Lenard in connection with "Inside Star Trek", a tribute to Star Trek released in 1976.

Roddenberry to transporter officer: "Set transporter for Vulcan Embassy."

"Coordinates on Vulcan Embassy."

"Lock on to Ambassador Sarek."

"Ambassador Sarek, sir. Engaging."

[transporter effect]

"Welcome, Ambassador Sarek."

"My old friend Roddenberry, it's been years since we've met."

"And I have many new questions, Ambassador--much more intimate, and personal, than I have ever had to ask before."

"About my son Spock, I presume."

"Well, yes, if you include the beginnings of Spock... There are some things I must know, Ambassador, in order to continue with my Star Trek journey. Forgive me, but how were you able to... overcome... the Vulcan _pon farr_ mating drive? I presume you did overcome it, Spock's mother Amanda was human, and somehow she was impregnated by you--"

"Roddenberry, are you asking if we coupled?"

"Ehrr, yes, sir. We know that Vulcans normally mate only once every seven years--"

"And since it is known that we pay for our sexual repression during these years by an almost animal madness, this has aroused a... a prurient curiosity among humans."

"It comes out of our affection for your son Spock, Ambassador. And your son's future. He's half Human, we've seen him reject a Vulcan marriage, is marriage to a Human female possible to him?"

"It was for me."

"But if you take the madness, which happens to your people at the time of pon farr, then add to it the extraordinary strength of a Vulcan--"

"Ordinarily an Earth woman could not endure that. If she survived, she might be severely injured, both physically and emotionally."

"Regarding that--"

"Roddenberry, I will not paint a word picture. 

I will say, that Humans and Vulcans mate in... somewhat similar fashion--in quite a similar fashion. 

But physical contour, mass, duration and energy do vary. 

Since we are deprived of our reason, during this time, the rest depends upon the woman. 

Not just her strength, but also her wisdom. Her patience."

"Is it possible to ever completely overcome the pon farr madness?"

"It is probably impossible to a Vulcan in his youthful prime. 

Fortunately, I was not. 

And it was no doubt helped by the fact that I spent almost thirty years as Ambassador to other Federation planets."

"And you spent many of those years on Earth itself?"

"Yes. But this gives too much credit to me. 

Spock's mother Amanda is an extraordinary woman."

"And Spock was the result. 

The first Human-Vulcan mixture."

"No, not the first. 

But the first to survive. 

As you must know, an Earth-Vulcan conception will abort during the end of the first month. 

The fetus is unable to continue life once it begins to develop its primary organs. 

The fetus Spock was removed from Amanda's body at this time-- first such experiment ever attempted. 

His tiny form resided in a test tube for the following two Earth months, while our physicians performed delicate chemical engineering, introducing over a hundred subtle changes that we hoped would sustain life. 

At the end of this time, the fetus was returned to Amanda's womb. 

At the ninth Earth month, the tiny form was again removed from Amanda, prematurely by Vulcan standards, and spent the following four months Vulcan term pregnancy in a specially designed incubator. 

The infant Spock proved surprisingly resilient--there seems to be something about the Earth-Vulcan mixture, which created in that.. tiny body.. a fierce determination to survive."

"And, as Spock grew into childhood, Ambassador--"

"Yes, yes. There must have been times when his inner mind wondered, if the fight to survive had been worthwhile. 

You see, while all Vulcans, including our children, live by the code of IDIC, and believe that diversity is to be admired, and treasured, it must be understood that the display of emotion is considered on our planet to be grossly offensive. 

No, more than that. 

Shockingly indecent. 

I can only explain that our attitude is rooted in Vulcan history, involving events of such bloody violence that it's left our race forever scarred, and sensitive to displays of emotion. Whether or not this Vulcan attitude can be defended, the fact is, it exists."

"Young Spock was allowed no smiles, no tears, no anger..."

"Such emotions, so common among your small children, are shocking, even appalling, to a Vulcan child. Spock's playmates could only assume that the bearer of these emotions was exhibiting hatred for his fellows. Some desire to embarrass, to disgust them. The children were prepared to enjoy Spock's diversity, they were not prepared for my son's demonstrating what seemed to be an obscenity of the grossest kind."

"It must have been a cruel existence for Spock."

"It was."

"Then, what kept your family on Vulcan?"

"We felt... Spock's torture, of course. But Amanda and I also had a dream. One that justified even the risk of our precious son's life and sanity. What point is there in any life surviving unless it has meaning? The meaning of Spock's existence is the very meaning of our marriage: What our two lifeforms combine, and offer something of value to other lifeforms."

"IDIC."

"Yes. Infinite Diversity from Infinite Combinations. It has given us quite a lovely Universe. I will return to Vulcan now, if I may."

"Thank you, Ambassador. Engage transporter."

[transporter effect]

================

The Most Dangerous Breed of Creatures in The Universe

“My 5-Year Old, the other day, one of her toys broke

and she demanded  that I break one of her sister's toys, too – 

to make it fair....

and I did....

That's How Much Shit She Gave Me...!!

I broke the little toy, and I felt awful, and I'm, like, cryin', and I look over to her, and she's got this creepy smile on her face –

That's The Difference Between Boys and Girls –

and it Becomes 

The Difference Between Men and Women, 

really....

Because, a Man will, like,

Steal Your Car

or

Burn Your House Down

or

Beat The Shit Outta Ya –

But a Woman will Ruin Your Fucking Life...

D'ya See The Difference...?

Because a Man will Cut Your Arm Off 

(Maybe, because he can.)

and

Throw it in a River

(Perhaps. I don't know...).

But he'll leave You, as a Human Being, intact –

He won't fuck with Who You Are –

Women are Non-Violent, but They will shit inside of Your Heart....

Welcome to Wherever You Are

BILL MOYERS: 

Do you ever have sympathy for the man who has no invisible means of support?

JOSEPH CAMPBELL: Who has no invisible means yes, he’s the one that evokes compassion, you know, the poor chap. And to see him stumbling around, when the water of immortal life is right there, is really evokes one’s pity.

BILL MOYERS: 

Right there? Right there? Youn believe that?

JOSEPH CAMPBELL: 

Yes, yes.

BILL MOYERS: 

The waters of eternal life?

JOSEPH CAMPBELL: 

Right there.

BILL MOYERS: 

Where?

JOSEPH CAMPBELL: 

Wherever you are if you’re following your bliss. I mean, you’re having that joy, that refreshment, that life, all the time.

1966

“Eleven years later, cycle 20 reversed the polarity. By 1966, hair had become longer, clothes were looser and more flamboyant, music became more involved and sophisticated, and the drugs were mind expanders like LSD.

In 1966 The Cosmic Wave entered the comics, to bring with it the gods of Thor, villains like The Anti-Matter Man, and John Broome’s psychedelic Flash stories. 

 

The new heroes were anti-establishment “Freaks” and Mutants.”

Excerpt From

Supergods

Grant Morrison

HUNTER :
Kill The Body and The Head will Die.
Ali-Frazier Fight.
Crazy Shit.

THE ABSOLUTE CREAM OF THE NATIONAL SPORTING PRESS :
A proper end to The '60s.
Ali beaten by a Human Hamburger.

HUNTER :
Both Kennedys murdered by Mutants.

1955

The Hidden Unity is Obi-Wan Kenobi

In 1955, when our planet was bombarded by cycle 19 solar magnetic waves, young people in the West responded like needles in a groove with rock ’n’ roll’s tight jeans, short hair, biker JD aggression, short, fast songs, and widespread use of stimulant drugs like speed and coffee.

Silver Age comic-book punk was embodied by crew-cut Barry Allen in his speed suit. “Chemicals and Lighting” could have been a song or a band. 

The tight suits, establishment men, and emphasis on science and rationality are all typical, as are Stan Lee’s realistic superheroes such as the Fantastic Four and Spider-Man.

Textbook Joseph Campbell.

The way Campbell explained it, 

Young Men need a Secondary Father to finish raising them.

Beyond their Biological Father, they need a surrogate, traditionally a minister or a coach or a military officer.

The floatsam and jetsam of a generation washed up on the beach of last resort.

That's why street gangs are so appealing. 

They send you men out, like Knights on Quests to hone their skills and improve themselves.

And all the TRADITIONAL Mentors -- 

forget it.

Men are presumptive predators. They're leaving Teaching in droves.

Religious Leaders are pariahs.

Sports Coaches are stigmatized as odds-on pedophiles.

Even The Military is sketchy with sexual goings-on.

James Stark :

Suppose you had to do something.

You had to go someplace and do this thing that was...

You know, it was very dangerous.

But it was Matter of Honour.

And you had to prove it.

What would you do?

Well, is there some kind of trick answer?

James Stark :

No, what would you do?

Pinnie :

Well, I wouldn't make a hasty decision.

Tell you what, Jimbo.

Let's get a little light on the subject.

Blood.

Jim, what happened?

What kind of trouble are you in?

James Stark :

The kind I was telling you about.

Now can you answer me?

Pinnie :

Nobody can make a snap decision.

It's one of those things that you...

James Stark :

You can't.

That's all there is to it.

It's something that you... 

Pinnie :

You just don't.

We've got to consider all the pros and cons.

James Stark :

I don't have time.

Pinnie :

We'll make time.

I'll get paper and we'll make a list.

And then if we're still stuck... we'll get some advice.

James Stark :

What can you do when you have to be a Man?

Pinnie :

Well...

James Stark :

No, you give me a Direct Answer!

Are you going to keep me from going?

Pinnie :

Did I ever stop you from anything?

You're at a wonderful age.

In ten years, you'll look back on this and wish...

James Stark :

Ten years?

I want an answer now. I need one.

Pinnie :

Listen, Jimbo, I'm just trying to show you how foolish you are.

When you're older, you'll look back at this.... 

and you'll laugh at yourself for thinking that this is so important.

It's not as if you were alone.

This has happened to every boy.

It happened to me when I was your age, maybe a year older.

Ratbag :

What's all the excitement?

I've been working hard getting this house in order...

Pinnie : 

Jim had blood on him.

He just ran out.

Ratbag :

And you didn't stop him?

That's The Edge.

That's The End.

Jim Stark :

Certainly is.

You know something?

I like you.

You know that?

Why do we do this?

You got to do something...

...now, don't you?

JAMES STARK :

Listen... I know a Place. 

Plato told me before. 

It's an old, deserted mansion...up by the planetarium. 

Want to go up there with me? 

You can Trust me, Judy. 

NATALIE WOULD :

Okay. 

•Unbelievable• that Old Biff could've chosen that particular date!

It could mean that that point in time contains some cosmic significance... Almost as though it were the temporal junction point for the ENTIRE space-time continuum...!

....on The Other Hand it could just be an INCREDIBLE coincidence.”

IT’S NEITHER

Old Biff from The Future is from 2015 in a stolen Time Machine he cannot operate, without instructions, or a manual —  he just pressed CTRL + Z on the keypad 3 times until he found somewhere he wanted to go — November 12th 1955.

As a shorthand toward understanding the two maximum states we flip between, Spence suggests we can regard one pole as having a “punk” character, while its opposite may be thought of as “hippie.”

In Spence’s lexicon, at least as I understand it (his own website will set you straight if.   wrong), punk maxima can be identified in a fashion vogue for short hair, tight clothes, short, punchy popular music, aggression, speedy drugs, and materialism. 

He focused on youth culture trends on the basis that young nervous systems registered the magnetic reversals most profoundly and reflected them back in the lineaments of the art and music they made or consumed. So far, so good.

In 1955, when our planet was bombarded by cycle 19 solar magnetic waves, young people in the West responded like needles in a groove with rock ’n’ roll’s tight jeans, short hair, biker JD aggression, short, fast songs, and widespread use of stimulant drugs like speed and coffee.

Silver Age comic-book punk was embodied by crew-cut Barry Allen in his speed suit. “Chemicals and Lighting” could have been a song or a band. 

The tight suits, establishment men, and emphasis on science and rationality are all typical, as are Stan Lee’s realistic superheroes such as the Fantastic Four and Spider-Man.

Mysterio is Not The Truth

In this age of grand delusion, 
you walked into my life out of my dreams

I don't need another change, 
Still you forced your way into my scheme of things

You say we're growing, growing heart and soul

In this age of grand delusion, 
you walked into my life out of my dreams

The second thing for you to realize is that power is power over human beings. Over the body but, above all, over the mind. Power over matter -- external reality, as you would call it -- is not important. Already our control over matter is absolute.' 

For a moment Winston ignored the dial. He made a violent effort to raise himself into a sitting position, and merely succeeded in wrenching his body painfully. 

'But how can you control matter?' he burst out. 'You don't even control the climate or the law of gravity. And there are disease, pain, death --' 

O'Brien silenced him by a movement of his hand. 'We control matter because we control The Mind. Reality is inside the skull. You will learn by degrees, Winston. There is nothing that we could not do. Invisibility, levitation -- anything. I could float off this floor like a soap bubble if I wish to. I do not wish to, because the Party does not wish it. You must get rid of those nineteenth-century ideas about the laws of Nature. We make the laws of Nature.' 

'But you do not! You are not even masters of this planet. What about Eurasia and Eastasia? You have not conquered them yet.' 

'Unimportant. We shall conquer them when it suits us. And if we did not, what difference would it make? We can shut them out of existence. Oceania is the world.' 

'But The World itself is only a speck of dust. And Man is tiny helpless! How long has he been in existence? For millions of years the earth was uninhabited.' 

'Nonsense. The Earth is as old as we are, no older. How could it be older? Nothing exists except through human consciousness.' 

'But the rocks are full of the bones of extinct animals -- mammoths and mastodons and enormous reptiles which lived here long before man was ever heard of.' 

'Have you ever seen those bones, Winston? Of course not. Nineteenth-century biologists invented them. Before man there was nothing. After man, if he could come to an end, there would be nothing. Outside man there is nothing.' 

'But the whole universe is outside us. Look at the stars! Some of them are a million light-years away. They are out of our reach for ever.' 

'What are The Stars?' said O'Brien indifferently. 'They are bits of fire a few kilometres away. We could reach them if we wanted to. Or we could blot them out. The earth is the centre of the universe. The sun and the stars go round it.'

Winston made another convulsive movement. This time he did not say anything. O'Brien continued as though answering a spoken objection:

'For certain purposes, of course, that is not True. When we navigate the ocean, or when we predict an eclipse, we often find it convenient to assume that the earth goes round the sun and that the stars are millions upon millions of kilometres away. But what of it? Do you suppose it is beyond us to produce a dual system of astronomy? The stars can be near or distant, according as we need them. Do you suppose our mathematicians are unequal to that? Have you forgotten doublethink?'

Winston shrank back upon the bed. Whatever he said, the swift answer crushed him like a bludgeon. And yet he knew, he knew, that he was in the right. The belief that nothing exists outside your own mind -- surely there must be some way of demonstrating that it was false? Had it not been exposed long ago as a fallacy? There was even a name for it, which he had forgotten. A faint smile twitched the corners of O'Brien's mouth as he looked down at him. 

'I told you, Winston,' he said, 'that metaphysics is not your strong point. The word you are trying to think of is solipsism. But you are mistaken. This is not solipsism. Collective solipsism, if you like. But that is a different thing: in fact, the opposite thing.”

The Matrix is a system, Neo.

That System is Our Enemy.

But when you're inside, what do you see?

Businessmen, teachers, lawyers, carpenters.

The very minds of the people we are trying to save.

But until we do, these people are a part of that system and that makes them Our Enemy.

You have to understand most of these people are not ready to be unplugged.

And many of them are so inert, so hopelessly dependent on The System that they will fight to protect it.

Were you listening to me or looking

at the woman in the red dress?

Look again.

Freeze it.

This isn't the Matrix?

It's another training program designed to teach you one thing:

If you are not one of us,

you are one of them.

What are they?

Sentient programs.

They can move in and out of any software still hardwired to their system.

That means that anyone we haven't unplugged is potentially an agent.

Inside the Matrix they are everyone,

and they are no one.

We have survived by hiding and running from them but they are the gatekeepers.

They're guarding all the doors and holding all the keys.

Sooner or later, someone will have to fight them.

Someone?

I won't lie to you, Neo.

Every single man or woman who has fought an agent has died.

But where they have failed, you will succeed.

Why?

I've seen an agent punch through a concrete wall.

Men have emptied entire clips at them and hit nothing but air.

Yet their strength and speed are still based in a world built on rules.

Because of that, they will never be as strong

or as fast as you can be.

What are you telling me?

That I can dodge bullets?

No, Neo.

I'm trying to tell you that when you're ready...

You won't have to.

The Matrix is a system, Neo.
That system is our enemy.
But when you're inside,
what do you see?
Businessmen, teachers,
lawyers, carpenters.
The very minds of the people
we are trying to save.
But until we do, these people are
a part of that system...
...and that makes them our enemy.
You have to understand...
... most of these people are not
ready to be unplugged.
And many of them are so inert...
...so hopelessly dependent
on the system...
...that they will fight to protect it.
Were you listening to me or looking
at the woman in the red dress?
Look again.
Freeze it.
This isn't the Matrix?
It's another training program
designed to teach you one thing:
If you are not one of us,
you are one of them.
-What are they?
-Sentient programs.
They can move in and out of any software
still hardwired to their system.
That means that anyone
we haven't unplugged...
...is potentially an agent.
Inside the Matrix...
...they are everyone...
...and they are no one.
We have survived by hiding
and running from them...
...but they are the gatekeepers.
They're guarding all the doors
and holding all the keys.
Sooner or later, someone will
have to fight them.
Someone?
I won't lie to you, Neo.
Every single man or woman who
has fought an agent has died.
But where they have failed,
you will succeed.
Why?
I've seen an agent punch
through a concrete wall.
Men have emptied entire clips at them
and hit nothing but air.
Yet their strength and speed are still
based in a world built on rules.
Because of that...
...they will never be as strong
or as fast as you can be.
What are you telling me?
That I can dodge bullets?
No, Neo.
I'm trying to tell you
that when you're ready...
...you won't have to.

Read more: https://www.springfieldspringfield.co.uk/movie_script.php?movie=matrix-the

The Matrix is a system, Neo.
That system is our enemy.
But when you're inside,
what do you see?
Businessmen, teachers,
lawyers, carpenters.
The very minds of the people
we are trying to save.
But until we do, these people are
a part of that system...
...and that makes them our enemy.
You have to understand...
... most of these people are not
ready to be unplugged.
And many of them are so inert...
...so hopelessly dependent
on the system...
...that they will fight to protect it.
Were you listening to me or looking
at the woman in the red dress?
Look again.
Freeze it.
This isn't the Matrix?
It's another training program
designed to teach you one thing:
If you are not one of us,
you are one of them.
-What are they?
-Sentient programs.
They can move in and out of any software
still hardwired to their system.
That means that anyone
we haven't unplugged...
...is potentially an agent.
Inside the Matrix...
...they are everyone...
...and they are no one.
We have survived by hiding
and running from them...
...but they are the gatekeepers.
They're guarding all the doors
and holding all the keys.
Sooner or later, someone will
have to fight them.
Someone?
I won't lie to you, Neo.
Every single man or woman who
has fought an agent has died.
But where they have failed,
you will succeed.
Why?
I've seen an agent punch
through a concrete wall.
Men have emptied entire clips at them
and hit nothing but air.
Yet their strength and speed are still
based in a world built on rules.
Because of that...
...they will never be as strong
or as fast as you can be.
What are you telling me?
That I can dodge bullets?
No, Neo.
I'm trying to tell you
that when you're ready...
...you won't have to.

Read more: https://www.springfieldspringfield.co.uk/movie_script.php?movie=matrix-the

STAGING

They weren’t My Parents.

They’d Served Their Purpose in History.

I was compelled to resolve them.

HAN'S POV: 

Kylo Ren appears and stops at the railing, looking down into the filter.          

Han looks at his son with a tortured storm of feelings.

WE'RE WITH KYLO REN as he resumes his hunt. 

He heads directly toward WHERE HAN IS HIDING! 

Kylo Ren has an INCREASING SENSE OF HAN'S PRESENCE as he moves closer. 

He comes to where Han  was hiding -- but HAN IS NOWHERE TO BE SEEN.      

    

From his hiding place in a narrow, POWER CHAMBER in the wall,  

HAN WATCHES HIS SON PASS ONLY A FEW FEET IN FRONT OF HIM.       

   

Han SHIFTS HIS POSITION in the tight compartment, so he can watch Ren's progress. 

Kylo Ren turns onto a FLAT BRIDGE THAT BISECTS the open space.          

Unaware of his father, Kylo Ren walks purposefully across to the opposite side. 

Han watches his son walk off -- the CLANK-CLANK of Kylo Ren's boots receding.

This is Han's opportunity to escape but Leia's words echo through his mind. He makes a decision and moves out, to the edge of the catwalk. He calls out, strongly: 

                         

HAN

Ben!

The name ECHOES as Kylo Ren STOPS, far across the vast catwalk. 

He turns. 

 

KYLO REN

Han Solo. 

I've been waiting for this day for a long time.

Finn and Rey make their way into the space, opening a HATCH that allows 

A BEAM OF PRECIOUS SUNLIGHT to stream down like a spotlight on Han and his son. 

Finn and Rey get to a railing  and look down. 

They can SEE and HEAR Han and Kylo Ren on the catwalk below. 

                        

 

HAN

Take off that mask. 

You don't need it. 

                         

KYLO REN

What do you think you'll see if I do?

Han moves toward Kylo Ren. 

                         

HAN

The Face of My Son.

Kylo TAKES OFF HIS MASK. 

Han is JOLTED -- 

seeing the face of his son for the first time as a Man. 

  

KYLO REN

Your Son is gone. 

He was weak and foolish, like his father. 

So I destroyed him. 

                         

HAN

That's what Snoke wants you to believe but it's not true.

My son is alive.

SEVERAL LEVELS BELOW them, CHEWIE comes to the rail to watch. 

INT. OSCILLATOR STRUCTURE - LOWER LEVEL - NEAR DARKNESS 

Kylo flares. 

KYLO REN

No. The Supreme Leader is wise.

UP ABOVE, Finn, Chewie and Rey watch, rapt. 

Stormtroopers dot the perimeter of the structure, watching the scene.

ON THE BRIDGE, Han moves closer, stern: 

HAN

Snoke is using you for Your Power.

When he gets what he wants, he'll crush you -- you know it's True.

Kylo hesitates. Somehow, he does know it. 

                         

KYLO REN

It's too late. 

                         

HAN

No it's not. Leave here with me.

Come home. 

We miss you.

For the first time, Kylo Ren seems truly conflicted. 

Tears flood his stoic eyes... 

                         

KYLO REN

I'm being torn apart. 

I want to be free of this pain. 

         

INT. OSCILLATOR STRUCTURE - DARKNESS FALLS 

 Han takes one step toward his son, but stops himself. 

                         

KYLO REN

I know what I have to do, 

but I don't know if I have the strength to do it. 

Will you help me?

Han hears his son's voice again, pained and vulnerable. 

                         

HAN

Yes. Anything.          

Kylo Ren unholsters his lightsaber and SLOWLY EXTENDS IT to Han, 

within a foot of Han's chest. Han almost can't believe it. 

The moment seems to last forever. 

And just then, the LAST BEAM OF SUNLIGHT 

streaming through the open hatch VANISHES. 

Han actually smiles -- and reaches out for the dark weapon -- but with the light now gone, KYLO REN'S EYES FILL WITH DARKNESS, HE IGNITES THE LIGHTSABER -- 

THE FIERY BLADE SHOOTS  OUT, RIGHT THROUGH HAN'S CHEST AND BACK! 

                         

KYLO REN

Thank You.

ABOVE, Finn and Rey GASP -- SCREAM -- 

                         

FINN (PANTING)

Solo. 

REY (ALSO PANTING)

No, no.

Han's last moment is looking into his son's face. 

HAN'S KNEES BUCKLE. 

The blade tilts down with him... until KYLO REN EXTINGUISHES IT AND HAN HOLDS onto the catwalk -- his life slipping away.

Finally Han FALLS BACK, OFF THE CATWALK, INTO THE DEPTHS OF  THE STRUCTURE! 

         

INT. RESISTANCE BASE - DAY 

Leia, feeling it instantly -- knowing -- drops into a seat,  DEVASTATED. 

         

INT. OSCILLATOR STRUCTURE - NIGHT 

 Kylo Ren is somehow WEAKENED by this wicked act. Himself horrified. His SHOCK is broken only when --CHEWIE CRIES OUT IN AGONY! Chewie furiously FIRES AT KYLO REN, HITTING HIM IN THE SIDE! Kylo Ren falls back, stunned. 

                             

Our MUSIC TAKES OVER, EPIC AND HEARTBREAKING as Stormtroopers FIRE AT CHEWIE, who is forced to retreat down a corridor, where he holds the EXPLOSIVE REMOTE -- he PUSHES THE BUTTON!

Hearing ONLY OUR SCORE, FIRST ONE, then TWO, then FOUR, then SIX EXPLOSIONS rock the structure -- CATWALKS FALL as the walls CAVE IN!

Kylo Ren SEES REY AND FINN, WATCHING THE EXPLOSIONS IN SHOCK -- then they SEE KYLO REN, WHO RECOGNIZES THEM BOTH, WITH ASTONISHMENT.

 He rises to his full height and heads for them with long strides.

Stormtroopers begin to BLAST AWAY AT REY AND FINN!