Wash

"....and, 23rdly -- Out There, 

in The Space-Time Vortex,
'Time', and 'Distance' 

have No Meaning...."

 

“We’re going,” he said excitedly, and shivered with energy.

  “Where? How?” said Arthur.

  “I don’t know,” said Ford, “but I just feel that The Time is Right. Things are Going to Happen. We’re on Our Way.”

  He lowered his voice to a whisper.

  “I have detected,” he said, “disturbances in The Wash.”

  He gazed keenly into the distance and looked as if he would quite like The Wind to blow his hair back dramatically at that point, but the wind was busy fooling around with some leaves a little way off.

  Arthur asked him to repeat what he had just said because he hadn’t quite understood his meaning. Ford repeated it.

  “The Wash?” said Arthur.

  “The Space-Time Wash,” said Ford and, as The Wind blew briefly past at that moment, he bared his teeth into it.

  Arthur nodded, and then cleared his throat.

  “Are we talking about,” he asked cautiously, “some sort of Vogon laundromat, or what are we talking about?”

  “Eddies,” said Ford, “in the Space-Time continuum.”

  “Ah,” nodded Arthur, “is he. Is he.” He pushed his hands into the pockets of his dressing gown and looked knowledgeably into the distance.

  “What?” said Ford.

  “Er, who,” said Arthur, “is Eddy, then, exactly, then?” Ford looked angrily at him. “Will you listen?” he snapped.

  “I have been listening,” said Arthur, “but I’m not sure it’s helped.”

  Ford grasped him by the lapels of his dressing gown and spoke to him as slowly and distinctly and patiently as if he were somebody from the telephone company accounts department.

  “There seem …” he said, “to be some pools …” he said, “of instability … he said, “in the fabric …” he said.

  Arthur looked foolishly at the cloth of his dressing gown where Ford was holding it. Ford swept on before Arthur could turn the foolish look into a foolish remark.

  “ … in the fabric of space-time,” he said.

  “Ah, that,” said Arthur.

  “Yes, that,” confirmed Ford.

  They stood there alone on a hill on prehistoric Earth and stared each other resolutely in the face.

  “And it’s done what?” said Arthur.

  “It,” said Ford, “has developed pools of instability.”

  “Has it,” said Arthur, his eyes not wavering for a moment.

  “It has,” said Ford, with a similar degree of ocular immobility.

  “Good,” said Arthur.

  “See?” said Ford.

  “No,” said Arthur.

  There was a quiet pause.

  “The difficulty with this conversation,” said Arthur after a sort of ponderous look had crawled slowly across his face like a mountaineer negotiating a tricky outcrop, “is that it’s very different from most of the ones I’ve had of late. Which, as I explained, have mostly been with trees. They weren’t like this. Except perhaps some of the ones I’ve had with elms that sometimes got a bit bogged down.”

  “Arthur,” said Ford.

  “Hello? Yes?” said Arthur.

  “Just believe everything I tell you, and it will all be very, very simple.”

  “Ah, well, I’m not sure I believe that.”

  They sat down and composed their thoughts.

  Ford got out his Sub-Etha Sens-O-Matic. It was making vague humming noises and a tiny light on it was flickering faintly.

  “Flat battery?” said Arthur.

  “No,” said Ford, “there is a moving disturbance in the fabric of space-time, an eddy, a pool of instability, and it’s somewhere in our vicinity.”

  “Where?”

  Ford moved the device in a slow, lightly bobbing semicircle. Suddenly the light flashed.

  “There!” said Ford, shooting out his arm; “there, behind that sofa!”

  Arthur looked. Much to his surprise, there was a velvet paisley-covered Chesterfield sofa in the field in front of them. He boggled intelligently at it. Shrewd questions sprang into his mind.

  “Why,” he said, “is there a sofa in that field?”

  “I told you!” shouted Ford, leaping to his feet. “Eddies in the space-time continuum!”

  “And this is his sofa, is it?” asked Arthur, struggling to his feet and, he hoped, though not very optimistically, to his senses.

  “Arthur!” shouted Ford at him, “that sofa is there because of the space-time instability I’ve been trying to get your terminally softened brain to come to grips with. It’s been washed up out of the continuum, it’s space-time jetsam, it doesn’t matter what it is, we’ve got to catch it, it’s our only way out of here!”

  He scrambled rapidly down the rocky outcrop and made off across the field.

  “Catch it?” muttered Arthur, then frowned in bemusement as he saw that the Chesterfield was lazily bobbing and wafting away across the grass.

  With a whoop of utterly unexpected delight he leaped down the rock and plunged off in hectic pursuit of Ford Prefect and the irrational piece of furniture.

  They careened wildly through the grass, leaping, laughing, shouting instructions to each other to head the thing off this way or that way. The sun shone dreamily on the swaying grass, tiny field animals scattered crazily in their wake.

  Arthur felt happy. He was terribly pleased that the day was for once working out so much according to plan. Only twenty minutes ago he had decided he would go mad, and now here he was already chasing a Chesterfield sofa across the fields of prehistoric Earth.

  The sofa bobbed this way and that and seemed simultaneously to be as solid as the trees as it drifted past some of them and hazy as a billowing dream as it floated like a ghost through others.

  Ford and Arthur pounded chaotically after it, but it dodged and weaved as if following its own complex mathematical topography, which it was. Still they pursued, still it danced and spun, and suddenly turned and dipped as if crossing the lip of a catastrophe graph, and they were practically on top of it. With a heave and a shout they leaped on it, the sun winked out, they fell through a sickening nothingness and emerged unexpectedly in the middle of the pitch at Lord’s Cricket Ground, St. John’s Wood, London, toward the end of the last Test Match of the Australian series in the year 198-, with England only needing twenty-eight runs to win.

  Important Fact from Galactic History, Number One : (reproduced from the Siderial Daily Mentioner’s Book of Popular Galactic History)
  The night sky over the planet Krikkit is the least interesting sight in the entire Universe.

Dunkirk

Quentin Tarantino on What Makes ‘Dunkirk’ a Masterpiece

She Must Have Hidden The Plans
in The Escape-pod --
Send a Detachment Down 

to Retrieve Them, See to It
Personally, Commander --

There'll Be No-one to Stop Us, 

This Time --

Christopher

chest (Latin cista, Greek kiste) 

A Box-like container, corresponding also 

to the Latin area (see ARK) . 

The mystic chest of Dionysus (see BAccHus) - probably a basket rather than a wooden chest - was filled with symbolic objects and carried by special priests known as kistophoroi; 

when The Mysteries of Dionysus were celebrated, 

a SNAKE emerged from it. 

The image of Demeter (Latin Ceres) as worshipped in 

the Eleusinian mysteries shows the goddess seated on a chest. In the Roman period the cista became a general symbol for esoteric mystical religions. The anatomical meaning of the English word "chest" is an extension of this same ety- mology. chi-rho A monogram derived from the first two Greek letters in the name of Christ, which resemble the Roman letters X and P; the chi-rho has been a symbol of Christian- ity since the time of Constantine I, fre- quently appearing on church banners (see FLAG), often within a CIRCLE or a victor's WREATH. On the LABARUM (the banner of the CROSS), the chi-rho was said to have accompanied Constantine's victory over Maxentius in A. D. 312, after the prophecy to Constantine "In hoc signo vinces" ("Un- der this sign will you be victorious"), but its earlier use has been documented. It sym- bolizes the universal victory of Christianity or the victory of the Savior over the domi- nation of sin. The chi-rho is at times placed within a triple circle (a reference to the TRINITY), with the ALPHA AND OMEGA on either side. Within a circle the monogram also has the effect of a WHEEL-like symbol for the SUN, which heightens its triumphal character. chimera or Chimaera In present-day usage only a symbol of imaginings or rumor; in Chi-Rho: early Christian catacomb painting with doves and olive branches Chi -Rho: the monogram of Christ antiquity, a monster part LION, part GOAT, and part SERPENT (the Etruscan "Chimera of Arezzo" having one head from each of these animals). The Chimera is said to be the daughter of Echidna, who was part ser- pent and part woman, and Typhon, a mon- ster from the underworld; her brother was the HELL-hound Cerberus. According to Robert Graves, her TRIADIC form symbolizes the divisions of the year: the lion corre- sponding to spring, the goat to summer, and the serpent to winter. In the myth, the Chimera was killed by the hero Bellerophon riding on his WINGED HORSE PEGASUS; BeI- lerophon was thus a pre-Christian prototype of such DRAGON-slayers as St. George and St. Michael. Chimeras appear occasionally in medieval mosaics (and in the capitals of pillars and columns) as embodiments of Sa- tanic forces. In antiquity the terrifying mon- ster appeared in the coats of arms of several cities, including Corinth and Cyzicus. The rationalistic interpretation of the tripartite creature saw her as the embodiment of the dangers of land and sea, but above all of the volcanic forces in the EARTH'S interior. Chimera. Etruscan bronze, 4th century B.C. 

Christopher, Saint 

The personification of a saintly legend, behind which there stands no historically documented person. 

Nevertheless, the legendary saint was venerated as early as the fifth century and is counted among the "14 catholic saints."

There are accounts that identify him as a GIANT named Offero or Reprobus of the savage race of the Cynocephali (dog-headed), who would offer his services only to The Strongest; a KING and The DEVIL 

proved to be timid, and only the Christ chiIld remained. 

The Giant was to carry him across a RIVER (an image of transition; see AFTERLIFE), and The Child became so heavy that he pulled The Giant under The Surface of The WATER, baptising him 'Christopher' ("The Bearer of Christ") in The Process.

He is said to have died A Martyr's Death under The Emperor Decius; his day was July 25. Christopher was portrayed as a giant with a leafy staff or stake in his hand (sym- bolizing justification through divine grace) and on his shoulder the Christ child, who is holding The Imperial APPLE, Symbol of The World. 

Frescoes depicting St. Christopher are common inside churches, which is ex- plained by the popular belief that anyone seeing Christopher's image would not die on that day; this encouraged frequent visits to churches. Christopher thus came to be seen as offering protection against sudden death; hence his modern status as patron saint of travelers. Iconographic prototypes may in- clude late Egyptian portrayals of the dog- headed Anubis with the child Horus, or 68 Chronus Saint Christopher. Woodcut, Buxheim, 1531 images of Hercules with the child Eros (CUPID) on his shoulder. The legendary .saint is an image of the witnessing believer who bears Christ through the world and thus attains salvation. The Golden Legend of Jacobus de Voragine (ca. 1270) gives the following ac- count of him: "He carried Christ in four ways: on his shoulders, when he transported him over the water; in his body, through the mortification to which he submitted himself; in his spirit, through his fervent prayers; in his mouth, through his witness and his sermons." In the Jewish and Islamic faiths the ancestral father ABRAHAM, who will serve only the greatest master and thus comes to know God, in this respect plays a role analogous to that of Christopher. (See also STARS.) 

Chronus The personification of Time, often not distinguished ftom the God Cronus (Latin SATURN); Saturn was thus often portrayed with symbols of transitoriness, which are properly the attributes of Chronus: the hour- glass and the SCYTHE. Cronus, who devoured his children, became a symbol of Time, which Creates and then destroys. 

In ancient mysterious religions, Chronus was a primeval god of the cosmos, also known as Eon (orig- inally Aron or Aeon); this Chronus was believed 

to have emerged from The DARKNESS 

to create The World, 

making a primordial SILVER EGG out of the ether. 

The figure of The Time-Guardian Chronus appears on many baroque clocks. The fleeting nature of passing time is often suggested by his WINGS, its cruel inevitability by The Scythe with which Cronus (in Hesiod's theogony) had castrated the primeval god -- His Father -- Uranus; drops of Uranus' BLOOD seeped into the ground, and from them the FURIES (Greek Erinyes) arose. chrysanthemum In East Asia a prized flower: in Japan an imperial emblem, and in China a symbol of autumn, as the PLUM- blossom is of spring. Its Chinese name (cha) is a homonym for "wait, linger" and suggests reflective contemplation, an association that is found in poetry as well: "0 yellow chry- santhemums, in the light from my little lamp you have grown quite pale," or "In late splendor do chrysanthemums bloom. " State attire was often decorated with designs containing chrysanthemums. Rebus-like messages of good will or congratulations were built on homonymies linking "PINE" and "chrysanthemum" ("May you have long life"), or "nine," "quail," and "chrysanthe- mum" ("May nine generations live together in peace.") A European wildflower variety, the tansy (Chrysanthemum vulgare), was used in folk-medicine against intestinal worms but is used today only for garden decoration. cicada (Greek tettix) The "tree cricket" of the Mediterranean region. According to Greek myth, Tithonus, the brother of King Priam of Troy, was the lover of EOS, the goddess of dawn. She asked Zeus to make Chronus as an angel. St. Hawes, The Pastyme of Plea- sure, 1509 Cicada ornament, symbolizing immortality. China, ca. 1200 B. C. Tithonus immortal but forgot to ask that he might remain forever young. He therefore lived forever, but became more and more feeble, mumbling to himself meaninglessly, until he shriveled up and was transformed into the constantly chirping cicada. The literature of antiquity sometimes describes the high-pitched drone of the insect as pleasant, sometimes as annoying. For Cal- limachus (ca. 300-240 B.C.), the sound symbolized "elevated" poetry; the cicada, in various contexts, stood for the tireless poet, was his helper, or appeared as an attribute of the MUSES. In ancient China the cicada (shan) sym- bolized immortality or life after death; a JADE amulet representing a cicada was placed in the mouth of the dead. A queen of the Cicada singing from the summer heat. J. &schius, 1702 circle 69 vassal state of Ch'i in the east was said to have been transformed into a cicada when she died; for this reason, the insect was also known as "the maiden of Ch'i." A stylized cicada ornament also represented "loyalty to one's principles." Circe A Greek demigoddess and the quin- tessential enchantress (see WITCH); the daughter of the SUN god Helios. She was said to have transformed men whom she loved into animals; she turned Picus, the son of SATURN, into a woodpecker. She did not manage to transform Glaucus when he requested a love-elixir from her, but she did change the nymph Scylla, whom he loved, into a hideous monster, the bane of seafarers (see WATER SPIRITS) . Circe is best known for her adventure with Odysseus, whose men she turns into swine (see PIG). Only Odys- seus himself-protected by the magic herb moly, which Hermes (see MERCURY) had given him-was impervious to her spell. He forced her to reverse the transformation of his men, spent a year with the enamored sorceress, and was finally freed by her and sent on with useful advice. Circe came to symbolize the seductive woman whose en- chantment leads her admirers to forget their dignity. circle Arguably the most important and most widespread geometric symbol; its form also corresponds to that of the SUN and MOON as they appear to us. In the specula- Circle: Cosmos, zodiac. R. LuHi's Practica compendiosa artis, 1523 70 circle Circle: Mausoleum decorations. Ireland (Sess Kill- green), Brittany (Gavr' Inis) tive philosophies of the Platonists and the Neoplatonists, the circle is the ultimate, the perfect form. The legendary Hyperborean temple of Apollo is described as circular (a reference to the prehistoric Stonehenge in southern England?), and the capital of Pla- to's "island of ATLANTIS" as a system of concentric rings of land and WATER. In mys- tic systems God is spoken of as a circle whose center is everywhere-an expression of per- fection and of surpassing human understand- ing (limitlessness, eternity, the absolute). In the circle there is no beginning or end, no direction. The "canopy" of the HEAVENS (see BALDACHIN) is represented as a round Circle: Reconstruction of shrine at Stonehenge. Southern England, ca. 1800 B. C. dome (partly because of the circular trajec- tory of the STARS around the celestial pole), and thus the circle also stands for heaven and all things spiritual. When spokes are drawn in, it becomes a symbolic WHEEL, which however carries dynamic associations opposed to the permanence of the circle. The Egyptian symbol for eternity is a string tied to form a circle; the corresponding sym- bol in the world of the ancient Greeks was a SNAKE biting its own tail (UROBORUS) . Concentric circles arise also when an object is thrown into the water. The frequent de- signs of this sort on megalithic gravestones can be interpreted as representations of sink- ing into the seas of death (see AFTERLIFE), or perhaps of miraculously re-emerging from them, suggesting a doctrine of death and rebirth, symbolized by concentric waves. A Circles inscribed with names of God, to repel demons. England, ca. 1860 circle with its center drawn in is the tradi- tional astronomer's symbol for the sun, and the alchemist's for the solar metal, GOLD. In magic lore the circle (drawn around the conjuring magician and not to be crossed throughout the ceremony) is supposed to serve as protection against evil spirits. The symbological opposite of the circle is the SQUARE, which is associated with the terrestrial world and things material. The circle stands for God and heaven, the square for humans and the earth. The proverbial task of "squaring the circle," constructing a circle (by purely geometric means) that has the same area as a given square, thus offers an image of human efforts to transform their own substance into that of God, and thus to render themselves divine. This insoluble problem in geometry was a frequent Renais- sance allegory for human striving for divine perfection, one that was also of great im- portance in the symbolism of ALCHEMY. Without going into the problem of equal areas, the Cabala also treats the circle and the square: a circle inside a square is seen as symbolizing the divine "SPARK" within a material envelope. In Christian iconography the halo (NIMBUS) around the head of a saint is usually circular, and concentric cir- cles also represent God's original creation. The first represents the earth, where humans will be placed only later, and God draws it with a drafting COMPASS (in the Bible Mor- alisee of the 13th century), or he reveals himself in the form of a HAND, which emerges from the center of multiple circles and breaks through them "transcendentally" on the pe- riphery (Romanesque fresco, St. Climent de Tahull, Catalonia, ca. 1123). Naturally, the importance of the circle as a symbol is not restricted to Occidental culture. For various Native American peo- ples, the orbit of the moon, and the appar- ent orbits of the sun and the stars, are round forms, and such forms appear in the way things grow in nature. Thus the camp, the teepee, and seating arrangements are all based on the circle. It is not uncommon to find traditional dances following (or gener- ating) circles. In Zen Buddhism the circle stands for enlightenment, the perfection of humanity in unity with the primal principle. In the Chinese symbol of YIN AND YANG, duality is enclosed in a circle (t'ai-chi, the primal One) . In Europe the notion of con- centric cosmic spheres dominates medieval cosmology and is represented poetically in Dante's Divine Comedy in the form of the "circles" of HELL, PURGATORY, and heaven; the hierarchies of ANGELS serve as guardians of these spheres and thus of the entire struc- ture. The TRINITY is often symbolized by three mutually intersecting circles. (See also MANDALA and SPIRAL.) city 71 city One criterion for some cultural his- torians seeking to determine whether a na- tion or people can be referred to as having attained "civilization." A city is not simply an agglomeration of fixed houses; it is also defined by central civil and religious orga- nization, and in some cases by the presence of city walls. For the symbologist, the city is a reflection in miniature of cosmic struc- tures, not sprung up in a totally random way, but laid out systematically, having at its center a terrestrial counterpart of the midpoint of the heavens (see OMPHALOS, MUNDUS, AXIS MUNDI). At this center we often find the shrine of the tutelary god of the city (in China: ch'eng huang-shen) or of a god-like hero, a local deity who ranks with KINGS. We find this not only in the Greek city-state (polis) but also in ancient Meso- potamia and Egypt. When an empire is established, the tutelary god of the central polis often becomes the god of the entire realm, bringing the gods of other cities into the pantheon over which he presides; the EMPEROR is then the earthly representative of this ruling deity. To a very limited extent, in the Christian world the patron saint of a city takes on something of the role played by the tutelary gods of old. The ideal city of the Western world is JERUSALEM, with BABYLON its ancient op- posite, subsequently replaced by heathen City: Assyrian portrayal of a Phoenician city. Nine- veh, 8th century B.C. 72 clouds Rome. The "city of God" is also a symbol of "Mary, Mother of God," and in the Middle Ages tabernacles and shrines for rel- ics were often constructed like cities, with decorative walls and miniature towers. In the symbology of the psyche, the city stands for the regularized center of a person's life, which can often be reached only after long travels, when a high degree of emo- tional maturity has been attained and the GATE to the spiritual center of one's life can be traversed

You're Too Human to Be Human

"In order for Life to have appeared spontaneously on Earth, 

there first had to be 

hundreds of millions 

of protein molecules 

of The Ninth Configuration.

But given the size of The Planet Earth, 

do you know how long it would have taken 

for just one of these protein molecules to appear entirely by Chance?

 Roughly ten to the two hundred 

and forty-third power 

billions of years. 

And I find that far, far more fantastic 

than simply Believing in a God."

Col. Vincent Kane

Colonel, what are you holding...?

Colonel, what are you...? Jesus! it is...

Maj. Groper :

Colonel, why do I have to wear this?

Under orders, he - Groper - and the whole staff of the U.S. Military mental asylum are wearing perfect replica Waffen-S.S. Uniforms.

Col. Kane :

What?

Maj. Groper :

I said why do I have to wear this?

Col. Kane :

Its psychodrama, Major.

Roleplay. A standard tool for Therapy.

The inmates are playing the role of Allied Prisoners of War, attempting to tunnel their way through to Freedom.

We are Their Captors.

Maj. Groper :

Bullshit, we're their prisoners!

A bunch of yellow-bellied goof-offs out there havin' a ball.

Why should I have to help their fun, I'm not a psychiatrist!

Its a goddam chicken-shit crazy idea.

Col. Kane :

Jesus! Jesus Christ, man!

Why don't you LOVE somebody just a little!

Why don't you HELP somebody! HELP them! HELP! For the love of Christ!!

You green-soaked caterpillar-torturing bastard!

You're going to wear that uniform, sleep in it, bathe in it.

Try to Take it off and You'll DIE in it! IS THAT CLEAR?!?

Astronaut Cutshaw enters The Commandant's office, wearing a Frankenstein's Monster Mask 

and plants His Flag.

Astronaut Capt. Billy Cutshaw :

I claim This Swamp for Poland!

Col. Kane :

Major Groper, please get out of here.

Immediately! 

And keep that uniform clean.

Astronaut Capt. Billy Cutshaw :

The man has a flag-fetish.

Now, then Major Strasser. 

Tomorrow night we're switching roles.

You'll be The Inmates and We'll be The Guards.

Here, study your part for tomorrow night's interrogation.

Notice, incidentally, that you'll crack on page 3.

Col. Kane :

Yes.

Astronaut Capt. Billy Cutshaw :

Who are you?

Who are you?

You're too Human 

to be human.

Col. Kane :

I don't know.

Astronaut Capt. Billy Cutshaw :

Maybe you're P.T. Barnum.

P.T. Barnum slaughtered lambs.

He put up a cage of side shows...

...and he stuck in A Panther and A Lamb together.

And there was never any Trouble.

Huddy, the public just went lollipops.

"Look, a panther and a lamb and they don't even argue!

They don't even discuss!"

But Hud, what the public never knew...

was that it was never the same lamb.

That fucking panther ate up a lamb every single day 

at intermission for three hundred days, 

and then they shot him for asking for mint sauce.

Animals are Innocent. 

Why should they suffer?

Why should children suffer? 

Will you tell me?

Why should any baby have to suffer and die?

Col. Kane :

Why should Men?

Astronaut Capt. Billy Cutshaw :

Oh, come on now. 

Don't try that thing on me.

You've got Answers for it.

Like: "Pain makes people noble"

And, “How could Man be more than a talking, tennis playing panda bear if there weren't at least the possibility of Suffering?”

But what about animals, Hud?

Does pain make turkeys noble?

Why is all of Creation based on dog eat dog, 

and the little fish are eaten by the big fish?

Animals screaming in Pain.

Our Creation an open wound, 

a fucking slaughterhouse!

Col. Kane :

We've talked about that. 

Astronaut Capt. Billy Cutshaw :

Not enough!

We said 'The original sin' might be the cause.

Astronaut Capt. Billy Cutshaw :

Then why doesn't the Foot 

just come down and tell us?

Is Foot running short of tablets of stone?

My Uncle Eddie owns a quarry; 

I can get them for Him wholesale.

Col. Kane :

You're asking for Miracles.

Astronaut Capt. Billy Cutshaw :

I'm asking Foot to either 

shit or get off the pot.

Diarrhetic strange Gods have been waiting in the line!

Col. Kane :

Maybe God cannot interfere in our affairs.

Astronaut Capt. Billy Cutshaw :

So I noticed.

Col. Kane :

Maybe He can't because to do so 

will spoil His Plans for The Future.

Some Evolution of Man and The World 

that's so unthinkably beautiful...

that its's worth all the pain 

of every suffering thing that ever lived.

Astronaut Capt. Billy Cutshaw :

I say it's spinach and to hell with it.

Col. Kane :

You're convinced that God is Dead 

because there's Evil in The World.

Astronaut Capt. Billy Cutshaw :

Correct.

Col. Kane :

Then why don't you think He's Alive 

because of The Goodness in The World?

Astronaut Capt. Billy Cutshaw :

What Goodness? 

Col. Kane :

Everywhere! In Man.

Astronaut Capt. Billy Cutshaw :

You're commendable. 

Col. Kane :

If we're nothing but atoms... 

molecular structures no different 

in kind from this desk or that pen, 

then we ought to always be rushing irresestibly blindly...

...to our own selfish ends?

So how is it that there is Love in This World?

I mean Love as A God might Love.

And A Man will give 

His Life for another. 

Astronaut Capt. Billy Cutshaw :

Never happened.

Col. Kane :

Of course it's happened.

Astronaut Capt. Billy Cutshaw :

Give me an example. 

Col. Kane :

Happens all the time.

Astronaut Capt. Billy Cutshaw :

Name one example!

Col. Kane :

A Soldier throws himself on top of a live grenade to prevent The Other Men in His Squad from being hit.

Astronaut Capt. Billy Cutshaw :

That's reflex action.

Col. Kane :

A Shipwreck Survivor 

in The Middle of An Ocean,

 finds out that he has Typhoid,

and deliberately goes over The Side of The Lifeboat to keep The Others in The Boat from contracting The Disease.

Now, what do you call that? 

Reflex action?

Astronaut Capt. Billy Cutshaw :

No, I call that Suicide.

Col. Kane :

Suicide and Giving up Your Life 

are not the same.

Astronaut Capt. Billy Cutshaw :

You're so dumb you're adorable.

Col. Kane :

The Essence of Suicide is Despair.

Astronaut Capt. Billy Cutshaw :

The Essence of Suicide is 

You Don't Collect The Insurance.

Listen, who doesn't know 

what all these examples 

we keep on hearing about aren't bullshit?

And don't have some basically 

bullshit selfish explanation?

Col. Kane :

I know. 

Astronaut Capt. Billy Cutshaw :

I don't.

Now give me just one example - just one - 

that you know of personally.

Personally, just one!

Col. Kane :

....

Astronaut Capt. Billy Cutshaw :

I thought as much.

Tomorrow's Sunday. 

Take me to Mass.

Cut to Church, The Next Morning --

Astronaut Cutshaw is dressed like a Little Girl.

Astronaut Capt. Billy Cutshaw :

Would Foot give a shit about what I'm wearing?

The Priest stands up in The Pulpit.

Astronaut Capt. Billy Cutshaw :

Is that Edgar Cayce?

Priest :

If anyone enters by Me, He Will be Saved.

The Thief comes only to Steal, to Kill, and Destroy.

But I have come that 

They may have Life, 

Life in all its Fullness.

That The Father knows Me, 

and I know The Father, 

in the same way 

I Know My Sheep, and They Know me, 

and I am Willing to Die for Them.

I have given YOU An Example

I am The Good Shepherd. 

The Good Shepherd gives His Life for His Sheep.

Astronaut Capt. Billy Cutshaw :

standing up in Church, interupting The Sermon --

Infinite Goodness is Creating A Being

that You Know in Advance is going to Complain.

"To be or not to be"

Thanks, I dug it.

Later, outside --

Astronaut Capt. Billy Cutshaw :

If You Die First and There's Life after Death, 

will you give me A Sign?

Col. Kane :

I'll try. 

Astronaut Capt. Billy Cutshaw :

You're terrific.

Mount Moriah

“I’ll buy you a Delicatessen..!

In Stainless Steel..!!

Please..!!!”

You remember what you said? 

That 007 actually died 

in the assault on Piz Gloria. 

I've been thinking, maybe 

you were right about that. 

Died... and then reborn in 

The World to Come. 

[Davros' laboratory]

(The Doctor enters.) 

Mister Six : 

I see you've been busy. 

DAVROS: 

Whereas you have 

been stupid, Doctor. 

Mister Six : 

Prerogative of a Time Lord. 

Where's Peri? 

DAVROS: 

Safe, for the time being. 

Mister Six : 

I must say, 

I'm surprised to see YOU. 

The last time we met, 

Your Ship blew up — 

I thought, with you on board. 

DAVROS: 

Not when there is 

An ESCAPE-POD 

to be had.

OHMSS is the first one 

which doesn’t end 

with The Escape Pod.

and he STAYS Angry 

about that —FOREVER.

THAT’S His Story.

“007. Glad you came back. 

I wanted to take up that discussion we were having.”

“I can't right now.”

“About Abraham and Isaac. 

You remember what you said? 

That Isaac actually died 

on Mount Moriah. 

I've been thinking, maybe 

you were right about that. 

You remember what you said? 

That Isaac actually died 

on Mount Moriah. 

I've been thinking, maybe 

you were right about that. 

Died... and then reborn in 

The World to Come. 

You remember what you said? 

That Isaac actually died 

on Mount Moriah. 

I've been thinking maybe 

you were right about that. 

Died... and then reborn in 

The World to Come.

007, •STOP•. 

WHERE Do You THINK 

You're GOING? 

Don't You Know?  

There's Nothing UP There.