The Icarus Factor

"Data, what if I missed something?"

"The Ship's Computer would have corrected immediately."

"Maybe My Inputs were incorrect."

Today I am a Warrior. 

I must show you My Heart. 

I travel The River of Blood.

WESLEY: 

Data! Geordi! I figured out Worf's problem.

LAFORGE: 

You spoke to him?

WESLEY: 

No, no. I accessed the complete 

Klingon cultural database. It took me some time

LAFORGE: 

Okay, Wesley, slow down.

What is the problem?

WESLEY: 

It's the tenth anniversary of 

Worf's Age of Ascension.

LAFORGE: 

His what?

WESLEY: 

The Klingon Age of Ascension. 

It's a ritual of great significance. 

A rite of initiation marking a new level of Klingon spiritual attainment.

DATA: 

And what is the significance of the anniversary of this event?

WESLEY: 

It's a day of celebration and ritual spent with one's fellow Klingons. 

Worf doesn't have any Klingon friends.

LAFORGE: 

We're his friends.

WESLEY: 

Right, but we don't practice Klingon tradition, 

And we're not Klingons. 

Worf is feeling culturally and socially isolated.

LAFORGE: 

So, what do you suggest we do? 

I'm not sure I'd like to invite a bunch of Klingons on board.

DATA: 

We can programme The Ship's Computer 

to supply simulations on the Holodeck.

LAFORGE: 

Holographic Klingons. 

Sure. Why not?

DATA: 

We need only to programme The Computer 

with details of the specific ceremony.

WESLEY: 

The cultural database said 

The Klingon's family must attend.

LAFORGE: 

So? We're His Family. We'll go. 

I just wonder what kind of party the Klingons had in mind. 

You did all this in a day? - Yeah.

All right.

I work with some really great people.

Good job, guys. Great job.

Hey, did you hear the news?

Ben and Chris want us to go into Conference Room "C"

for a meeting.

Let's get this over with.

Happy Birthday, Ron.

Ann said you had a big party...

sombreros, karaoke.

Yeah, I did that for Ann.

Why would I throw Ron Swanson an Ann Perkins party?

What about the giant list of things April was doing?

That was just a list of ways to mess with you.

She do 'em all?

She did indeed.

So I have rented Bridge on the River Kwai

and The Dirty Dozen.

Artie from Security is outside the door,

so no one will bother you.

And a cab will be here 

whenever you're ready 

to take you home.

Thank you.

Do you remember what you said to me five years ago

when Eagleton offered me that job,

and I asked you for your advice?

Uh, "Do Whatever The Hell You Want.

What Do I Care?"

Right, but then, after,

when I pressed you, what did you say?

I believe I said

That I thought we worked well together

and that I might disagree with your philosophy,

but I respected you.

And I said that 

You'll get a lot of job offers in Your Life,

but you only have one hometown.

Yes. That's how I remember it.

This, by the way, is a one-time-only situation.

Next year, your birthday party is gonna be a rager.

Mmm!

Mmm.

[Riker's quarters]

RIKER: 

I've practised my best Academy courtesy, 

now it's time for you to go.

KYLE: 

It's time for us to have a talk, so lower your shields.

RIKER: I'm asking you to leave, or I'll

KYLE: You'll what? You know, it's a shame there's no anbo-jyutsu ring nearby.

RIKER: Really? There is. Deck Twelve. The gymnasium.

KYLE: We can clear the air once and for all.

RIKER: You're on.

[Doctor's office]

KYLE: Scuttlebutt says you wanted to see me.

PULASKI: That's right. I thought I knew you, Kyle.

KYLE: You do, as well as anyone.

PULASKI: Then what is this I hear about an anbo-jyutsu match with Will?

KYLE: You've heard.

PULASKI: Haven't we grown beyond the point where we resolve our problems with physical conflict?

KYLE: I think you're overreacting.

PULASKI: I'm overreacting? You're the one who's going out to fight with his own son.

KYLE: Don't think of it as a fight, Kate. Think of it as more of a contest.

PULASKI: And suppose one of you is injured?

KYLE: I know where to find a good doctor. Kate

PULASKI: Kyle.

KYLE: Will and I have been playing anbo-jyutsu ever since he was eight old, and he knows how to handle himself. And so do I.

PULASKI: Don't take this personally, but Will is in his prime.

KYLE: And I'm no spring chicken, I know. Don't worry. He's never been able to beat me.

[Holodeck]

(A forbidding setting, lit with red light. There is a channel between two raised platforms)

DATA: Computer, is this it?

COMPUTER: Correct. Klingon Rite of Ascension Chamber.

LAFORGE: Is this really necessary?

WESLEY: If we want to get Worf through his problem, it is.

DATA: Computer, please give us Klingon personnel appropriate to this event.

(Four warriors stand on each side of the channel, with metre-long painstiks)

DATA: These images are specifically programmed for Ascension rites.

LAFORGE: Cute bunch.

WESLEY: And they use those?

O'BRIEN: Those are Klingon painstiks. I once saw one of them used against a two-ton Rectyne Monopod. Poor creature jumped five metres at the slightest touch. It finally died from excessive cephalic pressures.

WESLEY: You mean?

O'BRIEN: That's right. The animal's head exploded like

PULASKI: I think that's enough, Chief O'Brien.

[Corridor]

WORF: I do not enjoy riddles, Counsellor.

TROI: You will enjoy this one.

WORF: I am in no mood for trifling or games, not today.

TROI: I know what an important day this is for you, the anniversary of your Rite of Ascension.

WORF: You know about that?

TROI: All your friends on board do.

WORF: That is impossible. It is a secret known only to Klingons.

TROI: And certain resourceful young Ensigns.

WORF: Wesley Crusher. What does he know about it?

TROI: Just bear with me.

WORF: Where are we going?

TROI: The holodeck.

WORF: This is truly trying my patience, Counsellor.

TROI: I think you will approve.

WORF: You're not coming in?

TROI: No.

WORF: Open.

[Holodeck]

WORF: An Ascension ceremony.

LAFORGE: Happy anniversary, Worf.

DATA: 

Shall we begin?

WORF: 

I am ready.

(He steps between the two lines of warriors)

WORF: 

DaHjaj SuvwI''e' jIH. 

tIgwIj Sa'angNIS. 

'Iw bIQtIqDaq jIjaH. 

Today I am a Warrior. 

I must show you My Heart. 

I travel The River of Blood.

(The first two warriors apply their painstiks to his sides, and he screams in pain)

DATA: 

The True Test of Klingon Strength 

is to admit one's most profound feelings 

while under extreme duress.

WORF: 

jIbechrup may' vIlos.

(The second pair apply their painstiks)

WORF: 

The Battle is Mine. 

I crave only The Blood of The Enemy. 

HIHIvqa'.

(Third pair. He falls to his knees and O'Brien holds Pulaski back)

WORF: 

The Bile of The Vanquished 

flows over My Hands. 

May'pequ' moH.

(The fourth and final pair use their painstiks twice and he collapses in front of His Family)

WORF: 

Thank You.

[Observation lounge]

TROI: Is Lieutenant Worf all right?

PULASKI: He's never been happier.

TROI: So it was a good ceremony?

PULASKI: Let's just say that I was not about to stay for refreshments.

TROI: Klingon culture is not in your taste?

PULASKI: I'm just glad that humans have progressed beyond the need for barbaric display.

TROI: Have they? Commander Riker and his father are in the gymnasium, about to engage in barbarism of their own.

PULASKI: Don't remind me. It's something of which I do not approve.

TROI: In spite of human evolution, there are still some traits that are endemic to gender.

PULASKI: You think that they're going to knock each other's brains out because they're men?

TROI: Human males are unique. Fathers continue to regard their sons as children, even into adulthood. And sons continue to chafe against what they perceive as their fathers' expectations of them.

PULASKI: It's almost as if they never really grow up at all, isn't it?

TROI: Perhaps that's part of their charm, and why we find them so attractive.

PULASKI: Particularly men like Commander Riker.

TROI: And his father.

PULASKI: I hope they don't hurt each other.

[Gymnasium]

KYLE: Anbo-jyutsu. The ultimate evolution if the martial arts.

(They are wearing plastic suits of armour and carrying staffs with a large knob at one end. They are standing on a raised circular ring, decorated with oriental characters)

RIKER: I remember my early lessons.

KYLE: You could never get used to the sightless factor, or to losing.

RIKER: True, but I've had fifteen years to practise.

KYLE: Well, let's see if you've learned anything.

(They lower their opaque visors)

BOTH: Onegaishimasu.

(They circle, the small ends of the staves making a noise when they come close. Riker takes the first swings with the padded end, then Kyle. Then they return to trying to locate each other by the noise. Riker hits Kyle on the back, disarms him and sends him flying out of the ring)

KYLE: Well, you've been practising.

RIKER: And remembering. You should have been the one to die, not her. Yoroshiku-onegaishimasu.

KYLE: Good. Get it all out. Yoroshiku-onegaishimasu.

(This time, Kyle gets in the first hit, and Riker has to defend himself by holding his staff over his head)

RIKER: Matta! (Kyle backs away) I had you.

KYLE: Listen, Will. You were too young to understand and I was too hurt to explain.

RIKER: You were never too hurt for anything.

KYLE: She was your mother, but she was my wife. And when she died all that kept me going was you.

RIKER: You had a strange way of showing it.

KYLE: I came here thinking we could talk this out, but maybe you're right. Maybe I am no father, and you're no son. And this this fight is all we have left.

(Another round, and Kyle knocked Riker on his back)

RIKER: Wait!

KYLE: What is it now?

RIKER: 

You can't do that.

KYLE: What?

RIKER: 

Hachidan kiritsu! 

It's illegal.

KYLE: 

You're kidding?

RIKER: 

All those years. 

That's why I never won. 

You were cheating.

KYLE: 

It worked, didn't it? 

Kept you coming back for more.

RIKER: 

Incredible. You cheated me. 

How'd you get away with it?

KYLE: You were just a kid. By the time you were twelve years old, I knew I couldn't take you but I had to keep you interested, I had to keep you challenged, didn't I?

RIKER: I always hated you for that.

KYLE: Damn it, Will. You were barely out of diapers when she died. You hardly knew her! I'd loved her. Of course you carried the pain. So did I. I should have explained this to you a long time ago, but it hurt too much. Then the wall grew up between us. And living there, you and me, the wall got bigger. You know, it's funny. I can talk to a whole roomful of admirals about anything in the galaxy, but I can't talk to you about how I feel.

RIKER: How do you feel?

KYLE: How do you think? I love you, son. I've got to get back to the Starbase.

RIKER: I know. I'm glad you came.

(They finally embrace)

KYLE: Be careful now, okay?

That's Who I am

Bill is Here 

[captioned] 

(with reversal & promo) 

by iamaphoney

Bill is Here.

"NUMBER ONE 

(AKA WILLIAM RYKER) – 

A 30-35 year old Caucasian born in Alaska. 

He is a pleasant 

looking man 

with sex appeal, 

of medium height, 

very Agile and Strong, 

a natural Psychologist. 

Number One, as he is usually called, is 

Second in Command 

of The Enterprise 

and has a very strong, 

solid relationship 

with The Captain."

Other background details which were eventually added to Riker's preproduction character bio claimed Riker "doesn't fully appreciate The Female Need 

to be needed" 

and that he is 

"privately called 

William by Picard 

and Bill by 'female friends'" 

(Troi does refer to him as "Bill" in "The Naked Now" and "Haven", 

although this nickname 

was apparently dropped 

in favour of "Will". 

However, in the script for "Encounter at Farpoint", Picard refers to him as "Bill".)

Bill is Here!

Sooner or Later, 
The Bill Becomes Due.

Thomas is Here!

RIKER: 

Riker to Enterprise.

Do You Hear Me? 

DATA: 

Perfectly, Commander. 

I will be monitoring you continuously. 

TROI: 

Mintakan emotions 

are quite interesting. 

Like The Vulcans, 

They have highly ordered minds. 

A very sensible People. 

For example, Mintakan Women 

precede Their Mates --

It's A Signal 

to other women. 

RIKER: 

“This Man's Taken, 

Get Your Own”? 

TROI: 

Not precisely -- More like, 

“If You want His Services, 

I'm the one You have 

to negotiate with.”

RIKER : 

What kind of Services? 

TROI : 

All kinds. 

RIKER : 

….They ARE a Sensible Race (!)

Louis CK Everything is amazing & Nobody is happy

It Says, ‘Dig Hole Here’.

[Dig Site]

(The broken down UNIT convoy is very close to the open archeological trenches.) 

Time’s Champion: 

And you excavated all this yourself?

WARMSLY: 

Labour of Love, really.

Time’s Champion: 

Impressive. 

WARMSLY: 

And I did have some help from Shou Yuing. 

Time’s Champion: 

And where did you find The Scabbard? 


WARMSLY: 

By that marker. 


ACE: 

How long did it take? 


WARMSLY: 

Oh, about ten years so far. 


ACE: 

Ten years? 


WARMSLY: 

Archeology is a precise and delicate skill. 

History has to be eased out of The Earth 

one painstaking layer at a time. 


ACE: 

I still think ten years 

is a bit of a long time. 


(She squats in a trench and uses a brush to remove some soil from carved stones.) 


ACE: 

What's this? 


WARMSLY: 

Ah, now that's a bit of 

A Mystery. 

No one's been able to 

decipher the carving. 


Time’s Champion : 

It says, ‘Dig Hole Here’. 


WARMSLY: 

Extraordinary. 

What does it say that in? 


Time’s Champion: 

My Handwriting. 

Ace, We Need a HOLE. 


(Ace gets a canister of Nitro Nice from her jacket pocket.) 


ACE: 

Right. How long? 


Time’s Champion : 

Er, sixty seconds should be long enough. 


WARMSLY: 

Long enough for what? 


(The Doctor leads Warmsly away as Ace sets the timer.) 


Time’s Champion : 

Nothing to worry about. 

My Young Friend's something of An Expert. 


WARMSLY: 

What, in Archeology? 


Time’s Champion: 

No, explosives. 


WARMSLY: 

What? 
(Ace runs up to them.) 


Time’s Champion : 

Down! 


(Boom! as they dive into another trench.) 


Time’s Champion: 

Ace…? 


ACE: 

…I think the timer needs work. 


Time’s Champion : One of these days we're going to have a nice long talk — about acceptable safety standards.

[Helicopter]

BRIGADIER: Has Major Husak reported in yet? 
LAVEL: No, sir. London says that the area of radio interference is expanding. 
BRIGADIER: Well, see if you can raise him from here. Can you speak Czechoslovakian? 
LAVEL: Only when I'm drunk, sir.

[Woods]

(Bambera and Ancelyn are jogging through the trees.) 
BAMBERA: He'd better not be gone when we get there. 
ANCELYN: You cannot hold the Doctor. He goes where he will. 
BAMBERA: Shut up and run, Ancelyn. 
ANCELYN: My lady. 
BAMBERA: You call me my lady once more and I'll break your nose.

[Helicopter]

LAVEL: I can't see anybody around. 
BRIGADIER: Looks like some damage to that barn. 
LAVEL: I can see a possible landing zone. Everything looks peaceful. 
BRIGADIER: Yes, very peaceful. Are you armed, Lieutenant? 
LAVEL: Yes, sir. 
BRIGADIER: Well, check it's loaded and take us in.

[Churchyard]

(Morgaine and Mordred are standing amongst the graves of Saint Andrews Church, Hambleton.) 
MORGAINE: What can you see? 
MORDRED: A flying machine. Tis like an ornithopter but with whirling blades for wings. 
MORGAINE: The people of this world are obsessed with machinery. 
MORDRED: It would seem so. 
MORGAINE: Well then, let us teach them the limitations of their technologies. 
(Morgaine fires energy bolts from her claw-like fingernails and the helicopter starts smoking.)

[Helicopter]

(Smoke comes into the cockpit.) 
LAVEL: Malfunction, sir. 
BRIGADIER: What? 
LAVEL: It felt like something hit us. This could be rough. 
(The helicopter flies downwards.)

[Dig site]

(Ace peers into the massive hole she has made.) 
ACE: What's down there? 
WARMSLY: Don't ask me. I've only been excavating this site for ten years. 
DOCTOR: With a bit of luck, a tunnel. 
ACE: A dark, mysterious one? 
DOCTOR: Probably. 
ACE: Leading to unknown dangers? 
DOCTOR: Indubitably. 
(They slither down the side of the pit.) 
ACE: Oh, wicked! 
DOCTOR: Peter, Ace and I are going to investigate this tunnel. You stay here and guard it. Don't let anyone come in here. 
WARMSLY: What am I supposed to do, lecture them on archeology? 
DOCTOR: Yes.

[Helicopter]

BRIGADIER: Can you get us down? 
LAVEL: Down is not the problem. 
(The helicopter is close to the tree tops.)

[Tunnel]

ACE: It's damp. 
DOCTOR: Well, we are under the lake. 
ACE: And this wall's made of concrete. 
DOCTOR: Hmm. It's gone soft with age. This was built in the eighth century. 
ACE: But they didn't have concrete in those days. 
DOCTOR: No, they didn't. 
ACE: Thought so. 
(The tunnel seals behind them.) 
ACE: Doctor? 
DOCTOR: Don't worry, Ace. It's only a trap.

[Clearing]

(The Brigadier and Lavel run from the helicopter, which then explodes.) 
BRIGADIER: Five million pounds worth of aircraft, and we've lost it. 
LAVEL: If they make us pay for that 
BRIGADIER: We'll be poor for the rest of our lives. 
(Lavel's leg hurts.) 
BRIGADIER: Pulled a ligament? 
LAVEL: Oh good. I thought it might be something serious. 
BRIGADIER: I'll see if I can get some help from the village. 
LAVEL: But sir, we don't know what the situation is here. 
BRIGADIER: The situation, Lavel, is normal. It doesn't get much worse than that. You know, I think I'm rather enjoying this. 
(The Brigadier takes his service revolver from its holster and heads off.)

[Churchyard]

(Mordred is reading the names on the war memorial.) 
MORDRED: Tis a shrine to those fallen in battle. 
MORGAINE: So, they are not the savages you led us to believe. You fought on their soil without proper respect for the dead. 
MORDRED: Mother, I 
MORGAINE: You have dishonoured us, Mordred. What is victory without honour? Leave us! 
(Mordred walks through two lines of knights. The Brigadier walks up the road by the church.) 
MORGAINE: What manner of man are you? 
(Morgaine and the Brigadier meet at the church gate. The Brigadier points his revolver at her.) 
MORGAINE: A warrior, no less. How goes the day? 
BRIGADIER: I've had better. 
MORGAINE: I am Morgaine, the sun killer. Dominator of the thirteen worlds and Battle Queen of the S'Rax. What say you? 
BRIGADIER: I am Brigadier Lethbridge-Stewart. Surrender now, and we can avoid bloodshed.

[Dig site]

(Bambera and Ancelyn arrive.) 
BAMBERA: Where's the Doctor? 
WARMSLY: Did you know that it takes one year to uncover one centimetre on a site this big? But now, delay not. Take the sword and fling him far into the middle mere. Watch what thou seest and lightly bring me word. 
(Arthur, Lord Tennyson, Idylls of the King.)

[Spacecraft entrance]

(Ace is sitting in a giant carved fishes mouth, which is the entrance to the rest of the craft but has a metal door across it.) 
DOCTOR: Ancelyn's people must have built this tunnel. 
ACE: Looks fishy to me. 
DOCTOR: This is no place for humour. 
ACE: Professor? 
DOCTOR: Hmm? 
ACE: Where does Ancelyn come from? 
DOCTOR: Another dimension. Sideways in time from another universe. 
ACE: Not a local boy, then. 
DOCTOR: The question is, how do we get through here?

[Graveyard]

BRIGADIER: Let me see if I've understood you correctly. You are holding a Remembrance ceremony for the dead of our World Wars, a ceasefire to remain in force for the duration of said ceremony, right? 
MORGAINE: Your words are strange, but that is the meaning, yes. 
BRIGADIER: Right. What must I do?

[Spacecraft entrance]

ACE: No coded pattern? 
DOCTOR: No hidden switches. 
ACE: Well, how are we going to get through the door, then? 
DOCTOR: Open up. It's me. 
(The door rises.)

[Graveyard]

MORGAINE: I wish you to know that I bear you no malice. 
BRIGADIER: I understand. 
MORGAINE: But when we meet again, I shall kill you. 
(And she does/did, in The Dalek's Master Plan. The knights follow Morgaine out into the village.)

[Spacecraft entrance]

ACE: I refuse to ask how you did that. How did you do that? 
DOCTOR: Well, it came to me that it wasn't Ancelyn's people who built this tunnel. It was Merlin. 
ACE: But everyone thinks that you're Merlin. 
DOCTOR: Exactly. Door keyed to my voice pattern. Just the sort of thing I would do. 
ACE: Are you Merlin? 
DOCTOR: No. But I could be, in the future. That is, my personal future. Which could be the past. 
ACE: Right.

[Outside Gore Crow Hotel]

(Shou Yuing comes out to her car as the Brigadier runs up.) 
BRIGADIER: I'm commandeering this car, miss. 
SHOU: Sorry? 
BRIGADIER: The keys, please 
SHOU: What? 
BRIGADIER: The keys. Thank you. 
SHOU: Hey, just a moment. This is my car. 
(Shou gets into the passenger seat as the Brigadier starts the engine.)

[Spacecraft]

(The Doctor leads the way up a spiral staircase.) 

ACE: This is a spaceship? 

DOCTOR: More than that. It's a craft for travelling between dimensions. 

ACE: It's more like being in some huge animal. Who built it? 

DOCTOR: It wasn't built, it was grown. 

ACE: Who grows spaceships? 

DOCTOR: Very advanced bioengineers. 

ACE: Ask a stupid question. Well, if they're grown, how do they fly? 

DOCTOR: Magic. 

ACE: Oh, be feasible, Professor. 

DOCTOR: What is Clarke's law? 

ACE: Any advanced form of technology is indistinguishable from magic. 

DOCTOR: Well, the reverse is true. 

ACE: Any advanced form of magic is indistinguishable? 

(They arrive at the chamber with the knight and the sword in the stone.) 

ACE: From technology. 

ACE: Seen one spaceship you've seen them all. 
DOCTOR: Don't be so cynical, Ace. 
(They have reached the main chamber with the sword.) 
ACE: Wow. 
DOCTOR: Impressive. 
ACE: That's Arthur, King of the Britons, isn't it? 
DOCTOR: The legendary Arthur, yes. From another dimension, where the man was closer to the myth. But what is he doing here? 
ACE: Not a lot. Is he in suspended animation? 
DOCTOR: Who knows? 
ACE: In eternal sleep until England's greatest need. 
DOCTOR: Ace, don't touch that. 
ACE: Oh, it's all right, Professor. It's not like I'm King of the Britons, is it? 
(Ace pulls the sword from the stone and falls backwards.) 
DOCTOR: No, Ace! 
ACE: Gordon Bennett! 
DOCTOR: I hope you haven't disturbed anything. 
ACE: It disturbed me. 
DOCTOR: Well, I only hope you haven't disturbed anything else! 
ACE: Like what? 
DOCTOR: Like that. Look! 
ACE: Where? 
DOCTOR: I think I saw something over there. 
(A green thing with a snake's head glides into the room.) 
DOCTOR: Ace, I think it's time for plan B. 
ACE: We run? 
DOCTOR: Yes, run! 
ACE: There's no way out! 
DOCTOR: Now is not the time to panic! 
(The energy snake knocks the Doctor across the room.) 
ACE: Doctor! 
DOCTOR: Now we panic! 
ACE: It's some sort of automated defence system, isn't it. 
DOCTOR: Yes. When I say run, run! 
(The snake hits the Doctor again, and Ace runs to what looks like an escape hatch.) 
DOCTOR: Not that way! 
ACE: Doctor, it's a dead end! 
(The door closes, trapping Ace inside.) 
ACE: (silent) Doctor! 
DOCTOR: Hang on, Ace. 
(Water floods into the escape hatch. Ace is screaming for the Doctor and hammering on the door.) 
DOCTOR: I'm coming! 
(The water is up to Ace's chin.) 
ACE: Doctor! 
(The snake hits the Doctor again, this time knocking him out.)

Part Three

[Spacecraft]

(The Doctor wakes, and staggers to the control panel. He pulls out a small pyramid with seaweed on the end, and Ace is ejected out through the top of the escape hatch as the snake knocks the Doctor down once again.)

[Dig site]

(Warmsly is giving Ancelyn a tour of the site.) 
WARMSLY: Yes, this site is where Arthur is supposed to have met Mordred in the final battle, and this lake, where Bedivere threw Excalibur. 
ANCELYN: What do you know of Excalibur? 
WARMSLY: King Arthur's sword, Excalibur, wrought by the lonely maiden of the lake, who rose up out of the water holding the sword Excalibur aloft. 
ANCELYN: This lake? 
WARMSLY: Thou rememberest how, in those old days, one summer noon, an arm rose up from out the bosom of the lake clothed in white samite, mystic, wonderful, holding the sword. And how I rode across and took it, and have worn it, like a king. It's all a myth, really. Honestly, women in water holding swords?
(Bambera stares as a sword rises point first from the waters, followed by an arm clothed in black nylon belonging to a spluttering Ace.) 
BAMBERA: Look! 
WARMSLY: It's that wretched girl! 
(Ace runs onto the shore.) 
BAMBERA: What are you doing in the lake? 
ACE: Drowning. Here, you can be King of England. 
(Ace hands the sword to Ancelyn. 
ANCELYN: It's Excalibur. 
ACE: That's what I said, Shakespeare. 
BAMBERA: Where's the Doctor? 
ACE: In a spaceship, down there! He's in trouble. We've got to help him. 
(The Brigadier and Shou arrive in her 2CV.) 
SHOU: Oi! 
ANCELYN: Truly, the time of restitution has come.

[Spacecraft]

DOCTOR: Come out, come out, wherever you are, you little tapeworm. 
(The energy snake knocks the Doctor over and he drops the control unit. He makes a grab for it and ends up lying next to Arthur. Then someone's foot treads on the control unit, breaking it, and the green snake vanishes.) 
DOCTOR: (cough) Oh. 
BRIGADIER: I just can't let you out of my sight, can I, Doctor? 
DOCTOR: Brigadier Alistair Gordon Lethbridge-Stewart. So you recognise me, then? 
BRIGADIER: Yes. Who else would it be?

[Gore Crow Hotel]

(Elizabeth's white stick hits a foot. She feels up the chain mail arm to the steel plated shoulder.) 
ELIZABETH: Who are you? What do you want? Pat! Come quickly, Patrick!

[Dig site]

(Gazing down at the tunnel entrance.) 
BAMBERA: Two people were down there and you didn't tell me. 
WARMSLY: Well, I 
BAMBERA: Down there, in a trap. 
ACE: Yeah. Let's you in but it doesn't let you out. 
WARMSLY: Yes, well, Ace got out all right. 
BAMBERA: But the Doctor is still down there. 
SHOU: And the Brigadier. 
BAMBERA: I am the Brigadier. 
BRIGADIER: So am I. 
(The Brigadier comes out of the tunnel.) 
ACE: Hey, I thought it let you in but it doesn't let you out. 
DOCTOR: It let me out. 
BAMBERA: Brigadier, I thought you'd retired. 
BRIGADIER: So did I, Brigadier. Now, is the perimeter secure? This whole area is crawling with armed extra-terrestrials and they're hostile. 

DOCTOR: Same as ever, eh, Brigadier?

[Churchyard]

MORGAINE: He has possession of Excalibur. Knight Commander. 
COMMANDER: My lady. 
MORGAINE: Take your men along that road. Seek out those who hold Excalibur and take the sword from them. 
COMMANDER: And if they resist? 
MORGAINE: Give them an honourable death.

[Dig site]

ANCELYN: My lord Merlin. 

BRIGADIER: Merlin? 

ANCELYN: Oh, he has many names. 

BRIGADIER: He has many faces. And he has many companions. This must be the latest one. 

BAMBERA: We've checked the perimeter. Doctor Warmsly is staying with the vehicles. 

BRIGADIER: Oh, thank you, Bambera. Oh, see if you can get a blanket for this young lady, will you? 

BAMBERA: Yes, sir. Perhaps I should make some tea, too. 

(Bambera leaves.) 

BRIGADIER: Well, are you all right, Miss? 

ACE: Just call me the latest one, and I can get my own blanket. 

(Ace and Shou Yuing leave.) 

BRIGADIER: Oh dear. Women. Not really my field. 

DOCTOR: Don't worry, Brigadier. People will be shooting at you soon.

[Gore Crow Hotel]

(Mordred sips at a pint of beer. There are already 5 empty beer jugs on the bar. Pat brings an empty barrel up from the cellar.) 
PAT: Elizabeth? 
ELIZABETH: Pat, is that you? 
PAT: You all right? 
ELIZABETH: Yes, I'm fine. I'm all right. 
MORDRED: Your wife? 
PAT: Yes. 
MORDRED: With your aspect, it is well that she is blind. 
(Mordred walks away from the bar with his drink, laughing, as Lavel enters.) 
LAVEL: Do you have a phone? 
MORDRED: So, what have we here? 
(Lavel turns and draws her pistol.) 
MORDRED: Ah, there is light in this grey world. 
LAVEL: Don't move. 
MORDRED: Am I to do nothing? 
LAVEL: Yeah, you can get the tab if you like. 
MORDRED: Light and fire. Come, drink with me! 
LAVEL: I said, don't move. 
MORDRED: Oh, I would wish for kinder words. 
(Morgaine enters.) 
MORGAINE: Mordred. Who is this? 
MORDRED: A warrior maid. 
MORGAINE: A warrior? Good. I would learn the strength of their forces. 
LAVEL: Stay back or I'll shoot. 
(Lavel fires and Morgaine catches the bullet, crushes it and drops the dust onto the floor.) 
MORGAINE: Be silent. 
(Lavel drops her gun, hypnotised.) 
MORGAINE: Rest here and tell me. 
(Lavel kneels at Morgaine's feet and the sorceress puts her hands on Lavel's head.) 
MORGAINE: Ah. 
(Lavel screams.) 
MORGAINE: Quietly, my child. 
(Morgaine releases Lavel, who collapses.) 
MORGAINE: Now we know, Mordred. 
PAT: You can't leave her like that. 
(Morgaine zaps Lavel and turns her to ashes.) 
MORGAINE: Did my son drink well? Oh, I see that it is so. I must get the tab. 
PAT: Get away from here, you 
(Morgaine places her hand in front of Elizabeth's eyes.) 
ELIZABETH: I can see. Patrick, I can see!

[Dig site]

(The Brigadier, the Doctor, Warmsly, Ace and Shou take the Carbury Range Rover.) 
BRIGADIER: Oh, Bambera, take the other car, will you? 
BAMBERA: Yes, sir. Come on, Ancelyn. Looks like we get the deck chair. 
ANCELYN: My lady is vexed. 
(The Range Rover drives off.) 
DOCTOR: We might run into trouble. 
BRIGADIER: Oh really, Doctor? You do surprise me. 

ACE: Winifred isn't following. 
BRIGADIER: Good lord, is that her name? 
(In the 2CV.) 
BAMBERA: Now I'm vexed. 
ANCELYN: What do you seek? 
BAMBERA: Stay out of this. You don't even live here. 
(Ancelyn holds up the car keys.) 
ANCELYN: Perhaps these? 
BAMBERA: (snatching them) No.

[Carbury Range Rover]

(The Knight Commander deploys his men either side of the track as the Brigadier drives up.) 
DOCTOR: Something's wrong. 
BRIGADIER: What? 
DOCTOR: We haven't been attacked yet. 
(A knight throws a grenade which explodes next to the Range Rover. The vehicle swerves but keeps going. The Knight Commander signals his men to open fire.) 
BRIGADIER: Down! 
(He drives through two knights on the track. They shoot out the rear window but the Brigadier keeps going.) 
SHOU: Are they gone? 
WARMSLY: Who were they? 
BRIGADIER: Now, Doctor, we've been attacked. Happy? 
DOCTOR: Yes. 
BRIGADIER: Oh, good. 
DOCTOR: As long as Morgaine's people are shooting at us, she won't be using more obscure methods of attack. 
BRIGADIER: Such as? 
DOCTOR: I don't know, and I don't want to find out.

FOURNESS

The Sun and The Moon 

both create A Shadow.

“Gawain, a Third Knight, asks Parsifal gently and humbly if he will come to Arthur’s court and Parsifal agrees.

In another version of the story, the sun melts the snow and obliterates two of the drops of blood relieving Parsifal of the spell so that he can function again. It is possible that Parsifal would still be there in his lover’s trance if the sun had not reduced the three drops of blood to one or if Gawain had not rescued him.

Curious symbolism is at work in this part of the story. When dreams or myth make much point of numbers it is certain that very deep parts of the collective unconscious are at work. Do you remember the great emphasis on four in the Grail castle? Here it is the number three which is highly accentuated. Four seems to be the language of the collective unconscious for peace, wholeness, completion, tranquility. 

Three is the symbol for urgency, incompleteness, restlessness, striving, accomplishment. Parsifal, having been profoundly touched by the fourness of the Grail castle now must cope with the threeness of here-and-now life. His loves, the knightly quest, his place in Arthur’s court—these here-and-now things claim him. No one can make his way back to the Grail castle until he has made his way through the human dimensions of life.

An awkward time comes when life is dominated by three; it must be reduced to one or increased to four. Three, or that consciousness represented by three, can not long be endured in its intensity and drivenness. If one finds himself in a paralyzing dilemma, he must make the forward thrust to attain an enlightened place of insight, the fourness, or else reduce his consciousness just to survive.

Dr. Jung spent much of his later years working at the symbolism of three and four. He felt that mankind was just evolving from that stage of consciousness represented by three to that represented by four. 

In 1948 and 1949 he was jubilant at the new dogma of The Catholic Church which placed The Virgin Mary with the Trinity, all masculine figures, in Heaven. 

He felt that this completed an earlier, incomplete stage of development that had brought so much unrest and conflict to The  Western World. 

The Symbol precedes the fact by many years, which indicates that The Possibility is now open to us; but The Work is not yet done. 

Dr. Jung felt that the work of a truly modern person was to make the expansion of consciousness represented by the evolution from three to four — from the consciousness devoted to doing, working, accomplishing, progressing to that characterized by peace, tranquility, existential being. 

The heart of the matter is that four can contain three, but three can not contain four. 

A Person of the high consciousness of Four is capable of all the practicalities of life but is not bound by them. 

A Person of The World of Three is not capable of appreciating the elements associated with the number four.

We are apparently in an age where the consciousness of man is advancing from a trinitarian to a quaternarian view. This is one possible and profound way of appraising the extreme chaos our world is now in. 

One hears many dreams of modern people, who know nothing consciously of this number symbolism, dreaming of three turning into four. 

This suggests we are going through an evolution of consciousness from the nice orderly all-masculine concept of reality, the trinitarian view of God, toward a quaternarian view that includes the feminine as well as other elements that are difficult to include if one insists on the old values.

It seems that it is the purpose of evolution now to replace an image of perfection with the concept of completeness or wholeness. Perfection suggests something all pure, with no blemishes, dark spots or questionable areas. Wholeness includes the darkness but combines it with the light elements into a totality more real and whole than any ideal. This is an awesome task, and the question before us is whether mankind is capable of this effort and growth. Ready or not, we are in that process.

The Year of Mary has come and gone and has mostly been forgotten and seems to have had little immediate effect on our lives. But if we can view this extraordinary event in the right way it will have a profound effect on theology and upon our everyday lives.

When the fourth element is given dignity and honour it is no longer The Adversary; it is only when we exclude a psychological truth that it becomes negative or destructive. An element showing its evil side needs only consciousness to give it a useful place in our structure.

Man has often seen The Dark Side of himself as Feminine and, pushing it even further away, has turned it into The Witch. 

Much of the darkness of the rejected element during the Middle Ages was Feminine—hence the burning of witches at the stake. 

These were not a few isolated occurrences that gained unwarranted publicity; it has been estimated that more than four million women were burned at the stake during the height of the counterreformation in Europe.

Now, it is a formidable task to incorporate into Our Personality those elements that were seen to be so dark only a short time ago; to retrieve so dark an element is a dangerous operation. 

If one has antagonised The Wolf at The Door, he does not suddenly open The Door and Say, “Now come in.”

Excerpt from: 

"He: Understanding Masculine Psychology" 

by Robert A. Johnson