The Game of Traps

Evil -- 

Evil since The Dawn of Time. 

The Beginning of all Beginnings. Two forces, 

only Good and Evil. 

Then Chaos. 

Time is born, Matter, Space. 

The Universe cries out 

like a newborn. 

The Forces shatter as The Universe explodes outwards. 

Only echoes remain, 

and yet somehow, 

somehow The Evil Force survives. 

An Intelligence. 

Pure Evil! 

ACE: 

And that's Fenric? 

Time's Champion : 

No — That's just Millington's name for it. 

Evil has no name. 

Trapped inside A Flask like 

A Genie in A Bottle. 

JOSEPH CAMPBELL: 

Myths are clues to the spiritual potentialities of the human life.

BILL MOYERS: 

What we’re capable of knowing within?

JOSEPH CAMPBELL: 

Yes.

BILL MOYERS: 

And experiencing within.

JOSEPH CAMPBELL: 

Yes.

BILL MOYERS: 

I liked your defin-you changed the definition of a myth from the search for meaning to the experience of meaning.

JOSEPH CAMPBELL: 

The experience, the experience.

BILL MOYERS: 

The experience of life.

JOSEPH CAMPBELL: 

The experience of life. The mind has to do with meaning; in here, what’s the meaning of a flower? That Zen story of the sermon of the Buddha when his whole company was gathered, and he simply lifted a flower. And there’s only one man, Kashyapa, who gave him a sign with his eye that he understood what was said.

What’s the meaning of the universe? What’s the meaning of a flea? It’s just there, that’s it, and your own meaning is that you’re there. Now we are so engaged in doing things, to achieve purposes of outer value, that we forget that the inner value, the rapture that is associated with being alive, is what it’s all about.

Now, we want to think about God. God is a thought, God is a name, God is an idea, but its reference is to something that transcends all thinking. The ultimate mystery of being is beyond all categories of thought. My friend Heinrich Zimmer of years ago used to say, “The best things can’t be told.” Because they transcend thought. The second best are misunderstood, because those are the thoughts that are supposed to refer to that which can’t be thought about, you know. And one gets stuck with the thoughts. The third best are what we talk about, you see. 

And myth is that field of reference, metaphors referring to what is absolutely transcendent.

BILL MOYERS: 

What can’t be known.

JOSEPH CAMPBELL: 

What can’t be known.

BILL MOYERS: 

Or can’t be named.

JOSEPH CAMPBELL: 

Yes.

BILL MOYERS: 

Except in our own feeble attempt to clothe it in language.

JOSEPH CAMPBELL: 

And the ultimate word in our language for that which is transcendent is God.

BILL MOYERS: 

Do you remember what went through your mind the first time you saw Michelangelo’s Creation?

JOSEPH CAMPBELL: 

By the time I became aware of that, my notion of divinity was not quite so personal, you know. 

The idea of God, that he’s a bearded old man of some kind, 

with certain not very pleasant temperament, 

that is I would say a sort of materialistic way of talking about the transcendent.

BILL MOYERS: 

There’s just the opposite of it found on an island in the harbor of Bombay, from around the eighth century.

JOSEPH CAMPBELL: 

This is a wonderful cave. 

You enter the cave from a bright sky. 

Of course, moving into the darkness, your eyes are blacked out. 

But if you just keep walking slowly, gradually the eyes adjust, and this enormous thing, it’s about 19-feet high and 19-feet across, the central head is the mask of eternity. 

This is The Mask of God.

BILL MOYERS: 

The mask of eternity.

JOSEPH CAMPBELL: 

That is the metaphor through which eternity is to be experienced as radiance.

BILL MOYERS: 

And these other two figures?

JOSEPH CAMPBELL: 

Whenever one moves out of the transcendent, one comes into a field of opposites. 

These two pairs of opposites come forth as male and female from the two sides. 

What has eaten of the tree of the knowledge, not only of good and evil, but of male and female, of right and wrong, of this and that, and light and dark. 

Everything in the field of time is dual, 

past and future, 

dead and alive. 

All this, 

being and nonbeing, 

is, isn’t.

BILL MOYERS: 

And what’s the significance of them being beside the mask of God, the mask of eternity? 

What is this sculpture saying to us?

JOSEPH CAMPBELL: 

The mask represents the middle, 

and the two represent the two opposites, 

and they always come in pairs. 

And put your mind in the middle; 

most of us put our minds on the side of the good against what we think of as evil. 

It was Heraclitus, I think, who said, 

“For God all things are good and right and just, but for man some things are right and others are not.” 

You’re in the field of time when you’re man, and one of the problems of life is to life in the realization of both terms. 

That is to say, I know the center and I know that good and evil are simply temporal apparitions.

BILL MOYERS: 

Well, are some myths more or less true than others?

JOSEPH CAMPBELL: 

They’re true in different senses, do you see? Here’s a whole mythology based on the insight that transcends duality. Ours is a mythology that’s based on the insight of duality. And so our religion tends to be ethical in its accent, sin and atonement, right and wrong. It started with a sin, you see. In other words, moving out of the mythological zone, the garden of paradise where there is no time, and where men and women don’t even know that they’re different from each other, there the two are just creatures. And God and man are practically the same: “He walks in the cool of the evening in the garden where we are.” And then they eat the apple, the knowledge of the pairs of opposites, and man and woman then cover their shame, that they’re different; God and man, they’re different; man and nature, as against man.

“You get a totally different civilization, a totally different way of living according to your myth as to whether nature is fallen or whether nature is itself a manifestation of divinity, and the spirit being the revelation of the divinity that’s inherent in nature.” — Joseph Campbell

I once heard a wonderful lecture by Daisetz Suzuki, you remember, this wonderful old Zen philosopher, who was over here. He was in his 90s. He started to lecture in Switzerland that I heard in Ascona. He stood up with his hands on his side, and he said, “God against man, man against God, man against nature, nature against man, nature against God, God against nature. Very funny religion.”

Now, in the other mythologies, one puts oneself in accord with the world. If the world is a mixture of good and evil, you do not put yourself in accord with it. You identify with the good and you fight against the evil, and this is a religious system which belongs to the Near East, following Zarathustra’s time. It’s in the biblical tradition, all the way, in Christianity and in Islam as well. This business of not being with nature, and we speak with sort of derogation of “the nature religions.” You see, with that fall in the garden, nature was regarded as corrupt. There’s a myth for you that corrupts the whole world for us. And every spontaneous act is sinful, because nature is corrupt and has to be corrected, must not be yielded to. You get a totally different civilization, a totally different way of living according to your myth as to whether nature is fallen or whether nature is itself a manifestation of divinity, and the spirit being the revelation of the divinity that’s inherent in nature.

BILL MOYERS: 

Don’t you think that Americans, modern Americans, have rejected this idea, this Indian idea, this ancient idea of nature as revealing the divinity, because it would have kept us from achieving dominance over nature?

JOSEPH CAMPBELL: Yeah, but that’s the biblical condemnation of nature that they inherited from their own religion and brought with them. God is not in nature, God is separate from nature, and nature is not God, and this distinction between God and the world is not to be found in basic Hinduism or Buddhism, either.

I’ll never forget the experience I had when I was in Japan. To be in a place that never heard of the fall in the garden of Eden. To be in a place where I can read in one of the Shinto texts, “The processes of nature cannot be evil.” When every impulse, every natural impulse, is not to be corrected, but to be sublimated, you know, to be beautified. And the glorious interest in the beauty of nature and cooperation with nature, and coordination, so that in some of those gardens you don’t know where nature begins and art ends. This to me was a tremendous experience, and it’s another mythology.

Fenric : 

Where is The Game, Time Lord?

Time’s Champion : 

You couldn't resist it, could you? 

The Game of Traps. 

The contest as before. 

One move. 

Find the winning move. 

Spring The Trap on me, 

if you can. 

(The Doctor leaves Fenric to pore over the chess board.)

(The two women weep in each others arms as the Ultima machine prints out more names. Estrid, Sigvald, Hakon, Fridrek, Wulfstan.)

[Naval camp]

(Ace confronts the Doctor in the open.) 

ACE: 

You know what's going on, 

don't you? 

DOCTOR: 

Yes. 

ACE: 

You always know what’s going on,

you just can't be bothered to tell anyone. 

It's like it's some kind of game, 

and only you know the rules. 

You knew all about that inscription being a computer programme, 

but you didn't tell me. 

You know all about that old bottle, 

and you're not telling me. 

Am I so stupid? 

DOCTOR: 

No, that's not it. 

ACE: 

Why then? I want to know. 

DOCTOR: 

Evil. Evil since the dawn of time. 

ACE: 

What do you mean? 

DOCTOR: 

Will you stop asking me these questions? 

ACE: 

Tell me! 

DOCTOR: 

The Dawn of time. 

The beginning of all beginnings. Two forces only, good and evil. 

Then chaos. 

Time is born, matter, space. 

The universe cries out like a newborn. 

The forces shatter as the universe explodes outwards. 

Only echoes remain, and yet somehow, somehow the evil force survives. 

An Intelligence. Pure Evil! 

ACE: 

That's Fenric? 

DOCTOR: 

No — That's just Millington's name for it. 

Evil has no name. 

Trapped inside a flask like a genie in a bottle. 

ACE: 

Can we stop it? 

DOCTOR: 

We need to get that flask. 

ACE: 

We can release Captain Sorin to help us. 

I can distract the guard. 

DOCTOR: 

How? 

ACE: 

Professor — I'm not a little girl. 

(Reverend Wainwright watches the metal doors to the tunnel melting.)

[Guard room]

LEIGH: 

Are you looking for someone? 

ACE: 

No. You. 

(Ace walks away and Sergeant Leigh follows her.)

[Outside the guard room]

ACE: 

There's a wind whipping up. 

I can feel it through my clothes. 

Is there a storm coming? 

LEIGH: I wasn't expecting one. 

ACE: The question is, is he making all the right moves or only going through the motions? 

(Ace leads Leigh away around the corner, and the Doctor runs across the open space unseen into the guard room. The keys to the cell are in a desk drawer. The Doctor frees Sorin and they leave.) 

LEIGH: What are you doing here? 

ACE: You have to move faster than that if you want to keep up with me. Faster than light. 

LEIGH: Faster than the second hand on a watch? 

ACE: Much faster. We're not even moving yet. Hardly cruising speed. Sometimes I move so fast, I don't exist any more. 

LEIGH: What can you see?

[Underwater]

ACE [OC]: Undercurrents, bringing things to the surface.

[Outside the guard room]

ACE: I can't stay. 

LEIGH: You promised. 

ACE: I can't.

[Naval camp - tunnel exit]

(Jean, Phyllis and the haemovores break out of the tunnel.) 

WAINWRIGHT: I'm here. 

(He holds out his Bible.) 

JEAN: The book won't do you any good. You don't believe. 

WAINWRIGHT: We'll see. 

(They take a step back and scream as Wainwright looks heavenwards and prays.)

[Naval camp]

(Ace joins the Doctor and Sorin.) 

DOCTOR: You all right? 

ACE: Yeah, nothing out of my depth. 

DOCTOR: Come on. 

ACE: How are we going to stop Fenric? 

DOCTOR: Evil needs a body. It hasn't found one yet. 

SORIN: Thank you.

[Naval camp - tunnel exit]

PHYLLIS: It's not true. You don't believe it. 

JEAN: Look at us. There's no good in us. 

WAINWRIGHT: No! I believe in good. 

(But the seed of doubt has been sown.) 

PHYLLIS: Look in yourself. There's no good in you. 

WAINWRIGHT: No! No! 

(The haemovores stop screaming and move forward.) 

WAINWRIGHT: No! No! No! 

(He disappears beneath their claws.)

[Decrypt room]

(The printer is still rattling. Now it is one word - Ingiga.) 

JUDSON: What's it doing? 

(A bolt of electricity sends Judson rolling back across the floor, screaming, then he falls out of the wheelchair. Lightning flashes outside and rain pours down as more haemovores come out of the tunnel past Wainwright's lifeless, bloodless corpse. 

The Doctor bursts in as Nurse Crane goes to help Doctor Judson.) 

DOCTOR: Don't touch him! Don't touch anything! 

CRANE: He's an invalid. He can't even stand without someone to support him. 

DOCTOR: He's dead. 

MILLINGTON: The time is now. The chains of Fenric are shattered. The gods have lost the final battle. 

ACE: We're too late. It's him! 

MILLINGTON: The dead men's ship has slipped its moorings, and the Great Ash itself trembles to its roots. Fenric! 

(Judson stands up behind the Doctor and opens his glowing green eyes.) 

JUDSON: We play the contest again, Time Lord.

Part Four

[Bunk room]

(A frightened Kathleen is singing to her baby in the noisy storm.) 

KATHLEEN: When the bough breaks, the cradle will fall. Down will come baby, cradle and all.

[Decrypt room]

JUDSON: You left me in the shadow dimensions, trapped for seventeen centuries. But now I've found a body again, and the preparations are complete. 

(Judson raises his arms. A window blows in and he vanishes. Bates and a marine enter.) 

MILLINGTON: Shoot them! 

BATES: What for? 

MILLINGTON: Because I order you to. For treason. 

BATES: Sir. 

(Captain Bates takes the Doctor's weapon, that is, his umbrella, from him.)

[Tunnel]

(Judson materialises underground in front of someone.) 

JUDSON: I was only expecting one.

[Naval camp]

(A firing squad forms up in the pouring rain in front of a wall. Sorin stands with the Doctor and Ace awaiting his fate.) 

DOCTOR: You don't have to kill her. 

BATES: Let's just get this over with. Ready! 

DOCTOR: She's only a child! 

BATES: Aim! 

SORIN: Killing us doesn't make any difference. 

ACE: Mum, I'm sorry! 

(Vershinin throws a grenade, and the marines scatter.) 

BATES: Take cover! 

DOCTOR: Hurry! Come on! 

(Under cover of more grenades and gunfire, the Doctor, Ace and Sorin make it to the Russian lines.)

[Tunnel]

(Judson has appeared in front of Jean and Phyllis.) 

JUDSON: I was hoping for something a little more, well, Aryan. However, let the Ancient One approach. Where is the Ancient One? 

JEAN: He waits. 

JUDSON: He waits? He waits? What for? Has he no sense of occasion? I want him here, now. 

PHYLLIS: As you command. 

(Two marines start shooting. The haemovores deal with them.)

[Naval camp]

(The Doctor and Ace are hiding from the rain and the bullets.) 

DOCTOR: What did you say over there? 

ACE: What? 

DOCTOR: Over there. You said something. 

ACE: Oh, nothing. Just, just something. 

DOCTOR: You mentioned your mum. 

ACE: Don't play games with me, Doctor. 

DOCTOR: We're all playing games. Fenric's games. We're playing his games and falling into his traps.

[Millington's office]

MILLINGTON: And the battlefield shall stretch a hundred leagues, and at the end of the day not one living thing shall be left alive. The ancient enemies shall seek each other out, and all shall die! 

(Millington drips rain water onto his chess set.)

[Tunnel]

(Jean and Phyllis stand over the freshly drained Marines.) 

JUDSON: How English. Everything stops for tea. Fetch me the ancient one. There is much to do. 

(Jean and Phyllis bow, and turn.)

[Naval camp]

DOCTOR: I must play the game to the end this time. 

ACE: What game? 

DOCTOR: A very simple game. A game of chess.

[Naval camp]

(The marines have settled in behind some sandbags.) 

BATES [OC]: Move it, move it.! 

DOCTOR: I need a chess set to play the game. I need pieces. 

ACE: If we can get into Commander Millington's office, we could nick his chess set. 

SORIN: Hey, we came here to steal Ultima machine. Chess set? No problem. Follow.

[Naval camp]

(The Doctor and Ace follow Sorin to the corner of the nearest building.) 

SORIN: We've got a clear path to the British positions. Go. 

(Meanwhile, on the other side of the fight.) 

MILLINGTON: Establish new positions. Secure the laboratory. 

BATES: Follow me!

[Maidens Point]

(Jean and Phyllis look out to sea and raise their arms.) 

PHYLLIS: You are summoned. 

JEAN + PHYLLIS: You must obey. 

(Lightning strikes the water, and a fully mutated haemovore rises and walks to shore.)

[Munitions bunker]

JUDSON: Ah, the sound of dying. When it comes to death, quantity is so much more satisfying than quality. 

MILLINGTON: The final 

JUDSON: Don't interrupt me when I'm eulogising. Where is the Time Lord? 

MILLINGTON: Time Lord? 

JUDSON: The one you call Doctor. 

MILLINGTON: I had him shot. 

JUDSON: I can see you've never been handicapped by great intelligence. For seventeen centuries I was trapped in the shadow dimensions because of him. He pulled bones from the desert sands and carved them into chess pieces. He challenged me to solve his puzzle. I failed. Now I shall see him kneel before me before I let him die.

[Millington's office]

ACE: Here's the chess set. 

DOCTOR: No, no! Don't touch! 

(Too late. A wire has been pulled, and gas begins to pour from a hole hidden below the pile of Church records. The Doctor puts a waste paper basket over the hole to contain it.) 

ACE: Oh, thanks. I don't know why he used a chemical grenade. If I was him, I've have stuck a few sticks of explosives under the table. 

(They look under the table and sure enough - there are the sticks of dynamite and a dangling detonator pin. The Doctor grabs Ace's arm and they run out of building 48, throwing themselves over some sandbags just as the whole building goes KaBOOM!)

[Tunnel]

(The ancient one has obeyed the summons.) 

JUDSON: At last, another of the Wolves of Fenric decides to show up and play his role. 

HAEMOVORE: My world is dead. 

JUDSON: Hardly a great loss, if you're the best evolution could manage. This is the twentieth century. It doesn't become your world for a long time yet. First, you must kill all humans.

[Naval camp]

DOCTOR: Another of Fenric's traps. 

ACE: Well, at least I managed to grab the consolation prize. 

DOCTOR: Ha, ha, well done. The parish records. Great. 

ACE: What I can't understand is what's so special about them. 

DOCTOR: Names. 

ACE: Whose names? 

DOCTOR: Names of ancient families. Judson, Millington, Wainwright, Dudman. 

ACE: Dudman! Kathleen Dudman, she's got a chess set. 

DOCTOR: No, no, no. Millington destroyed them all. 

ACE: No, no. I saw it in her suitcase. 

DOCTOR: Come on! 

(The Wrens are hiding in the typing pool when the door opens. They scream.)

[Naval camp]

(Captain Bates puts a vial of green poison gas into a grenade.) 

BATES: Ready? Now! 

(He pulls the pin, goes to the corner of the building and throws it. The marines start up covering fire. The grenades land in the sandbagged area where two Russians are. They die quickly but noisily. 

A little later, the fighting has finished. Millington and Bates survey the dead.) 

BATES: Are they Russians? 

MILLINGTON: Russians, German, British. They're enemy. 

Sorin and Vershinin discover the last of their men, all dead.) 

SORIN: We are the last two. 

VERSHININ: This isn't war. This is massacre. 

SORIN: The Ultima machine has done this. 

VERSHININ: Destroy it. 

(They check their ammunition supply.) 

SORIN: Go that way.

[Munitions bunker]

(Bates has followed Millington, and is eavesdropping. The haemovore is there.) 

MILLINGTON: Your creatures are killing my men! What is it? 

JUDSON: We call him the Great Serpent. 

MILLINGTON: And the Great Serpent shall rise from the sea and spew venom over all the Earth. 

JUDSON: There's enough poison in here to contaminate the world forever.

[Naval camp]

(Bates runs up to the Doctor and Ace.) 

BATES: They're insane. They're trying to control the world with chemical weapons. 

DOCTOR: All part of Fenric's evil game, no doubt, like this weather. 

BATES: I know. (Sorin comes up behind Bates, who turns to him.) 

BATES: Let's join forces, fight the real enemy. 

SORIN: That's a really good idea. 

ACE: So we're all on the same side again? 

SORIN: You have the spirit of a fighter. And you wear our emblem. 

(Ace has a red star on her black jacket, which she is carrying.) 

ACE: Oh, it's not a real one. I bought it cheap in a market. 

SORIN: Have the real one, tovarich. 

(Sorin pins his own badge on her lapel, then takes her hand and gently kisses it.) 

DOCTOR: Come on! We've got to get Kathleen's chess set.

[Typing pool]

(The marines arrive to rescue the Wrens.) 

LEIGH: It's all right, girls. We'll take over now. 

(The Wrens turn around to show their pale faces and long nails. Once again, too late. Leigh is left to die as the other marines flee.)

[Bunk room]

KATHLEEN: Ace! 

DOCTOR: The chess set? 

ACE: In the suitcase. 

(The Doctor grabs the chess set and runs for the door.) 

KATHLEEN: Oh, don't leave me! 

ACE: I can't leave them. I'll stay here. 

DOCTOR: Well, don't leave the hut.

[Command room]

(Sorin sees the smashed radios then turns to discover Jean and Phyllis have been hiding behind the door.) 

JEAN: You don't have the emblem this time. 

SORIN: But I still have my faith. 

(He does, and leaves safely.)

[Judson's office]

(Nurse Crane has put on her coat and is about to leave when two haemovores enter.) 

CRANE: Oh no! Oh, please! Please! Please! 

JUDSON: Nurse Crane. You've looked after me all these years. Almost a mother, treating me like a child, humiliating me. I feel this is what Doctor Judson would have wished. 

(Possessed Judson gestures for the haemovores to do their work.) 

CRANE: Oh no! No, please! Argh!

[Bunk room]

ACE: We've got to do something about this room. 

KATHLEEN: All right. Let me just sort the baby out, okay? 

ACE: Let's use the furniture. 

KATHLEEN: Right, let's put that bunk up against the door. 

ACE: Okay. What about the wardrobe over the window? 

KATHLEEN: Good idea. Let's use that and the other bunks up against the window. 

ACE: Yeah.

[Decrypt room]

(Vershinin goes to the Ultima machine.) 

MILLINGTON: I'm afraid you've had a wasted journey. 

(Millington shoots Vershinin.) 

MILLINGTON: But then you were never really our allies, were you? Your people will always be the enemy. 

VERSHININ: See you in hell. 

(The Doctor sets up the chess set in the munitions bunker.)

[Bunk room]

(Fortifications complete, the two women and baby sit and wait.) 

ACE: I don't like dark buildings. There was one in Perivale, an old, empty house full of noises. Evil. Things I didn't understand. Undercurrents. 

KATHLEEN: What kind of a world is this to bring up a child in? 

(A haemovore breaks in a window.) 

ACE: Quick, the window! 

(Ace runs to the opposite window and starts to climb out.) 

KATHLEEN: Ace, take Audrey. 

ACE: Quick!

[Munitions bunker]

(The Doctor is placing the chess pieces for his puzzle.) 

DOCTOR: That's it. No, that's not right! It was so long ago. There.

[Naval camp]

ACE: In the jeep. Get in. Quick! 

KATHLEEN: Where shall I go? What shall I do? 

ACE: Go to London. My Nan'll look after you. 

KATHLEEN: Where? 

ACE: She lives in Streatham. Seventeen Old Terrace. Say it. 

KATHLEEN: Seventeen Old Terrace. Wait, Ace. I want you to have this. 

(Kathleen gives Ace a photograph of Audrey.) 

ACE: (to Audrey) I'll always love you. Now go! (Kathleen puts Audrey behind the drivers seat.) 

ACE: Seventeen Old Terrace. 

KATHLEEN: Seventeen Old Terrace. Seventeen Old Terrace. 

ACE: Now go! Go! 

(Kathleen drives the little covered jeep away. Jean and Phyllis walk up to Ace.)

[Judson's office]

JUDSON: The Time Lord has made his move. Take the poison. Carry it to the ocean. Release it into the waters. 

HAEMOVORE: And the other haemovores? 

JUDSON: Oh yes, they've been so useful. How could we have managed without them. You know how to kill them. 

(The haemovore concentrates. Outside, Jean and Phyllis scream and collapse, then crumble into dust before Ace's eyes.)

[Munitions bunker]

(Judson enters.) 

JUDSON: Where is the game, Time Lord? 

DOCTOR: You couldn't resist it, could you? The game of traps. The contest as before. One move. Find the winning move. Spring the trap on me, if you can. 

(The Doctor leaves Judson to pore over the chess board.)

[Decrypt room]

(Captain Bates has found Vershinin. Millington enters and he points his service revolver at his superior.) 

MILLINGTON: Are you going to use that gun? You know your problem, Captain Bates? You don't know who the enemy is. A traitor is someone who doesn't know who the enemy is. 

(Millington raises his own weapon, a shot rings out and he falls.) 

VERSHININ: But I do.

[Tunnel]

DOCTOR: 

I've been waiting.

 

HAEMOVORE: 

You know me? 

DOCTOR: 

Thousands of years in the future, the Earth lies dying, the surface just a chemical slime. 

Half a million years of industrial progress. 

HAEMOVORE: 

I am the last. The last living creature on Earth. 

I watched my world dying with chemicals, and I could do nothing. 

My world is dead.

[Munitions bunker]

(Judson is concentrating on the chess set when Ace runs in. He doesn't look up.) 

JUDSON: Who is it? Is that you, Time Lord? Tell me the solution. The contest is, is too much for such a weak body. 

ACE: I don't know the solution. 

JUDSON: Tell me. Tell me the solution. 

(Ace runs out again.)

[Tunnel]

DOCTOR: 

You're very patient. 

Carried back thousands of years in a time storm, 

to ninth century Transylvania, and waiting till now. 

HAEMOVORE: 

Without the flask, I was trapped. 

DOCTOR: 

Oh yes, the flask. 

I trapped him like an evil genie. 

HAEMOVORE: 

Only he can return me to the future. 

DOCTOR: 

And so, like a faithful servant, you follow the flask. 

HAEMOVORE: 

A merchant bought it from Constantinople. 

I followed him through Europe. 

I followed the Viking pirates who stole it, and I followed it here. 

DOCTOR: 

Another of Fenric's games. He carries you back in a time storm to destroy the Earth's water with chemicals, to destroy your future. Think on it. Your Earth, your world, dying of a chemical slime. 

This act will be the beginning of your end.

[Decrypt room]

BATES: 

I owe you one. 

ACE: 

What's happened? Are you all right? 

BATES: 

We're all right now. 

We're fighting together now. 

VERSHININ: 

War, a game played by politicians. 

We were just pawns in the game, but the pawns are fighting together now. Eh, comrade? 

ACE: That's it. The solution. The winning move!

[Munitions bunker]

(Sorin enters, carrying a rifle.) 

JUDSON: Where have you been? 

SORIN: It's time to die, Fenric. 

JUDSON: You don't understand. You don't know why you were selected for this mission. 

SORIN: Because I speak English. My grandmother was English. 

JUDSON: 

Emily Wilson, granddaughter of Joseph Sundvik. 

You are touched by the Curse of Fenric. I selected you. 

You are one of the Wolves of Fenric. 

(Sorin takes aim.)

[Decrypt room]

BATES: 

Are you sure you can stand? 

VERSHININ: 

Workers of the world unite, comrade. 

(They clasp hands.)

[Munitions bunker]

(Sorin is studying the problem when Ace enters.) 

ACE: 

Fenric would never have guessed The Solution, anyway. 

SORIN: 

Tell me, Tovarich. 

ACE: 

A brilliant move. 

The Black and White pawns 

don't fight each other, 

they join forces. 

(Sorin turns and reveals his glowing green eyes.) 

SORIN: 

Thank you, child. 

(The Doctor enters.) 

DOCTOR: 

Ace! 

SORIN: 

Black wins, Time Lord. 

(He knocks over the white king and laughs. Lightning blasts through the roof and sets the board alight.) 

ACE: 

What's happened? 

SORIN: The Wolves of Fenric, descendants of the Viking who first buried the flask, all pawns in my game. Doctor Judson, Commander Millington, the Ancient One, Captain Sorin, and now you. 

(The Ancient One is behind Ace.) 

ACE: Me? You can't! How? 

SORIN: The baby. In thirty years, the baby will be grown. She will have a daughter. That daughter will be you. You've just created your own future. 

(Sorin holds Audrey's photograph in front of Ace.) 

SORIN: The baby is your mother. The mother you hate. Kill them, slowly. 

ACE: You don't stand a chance. Tell him, Doctor. He's got it wrong. 

SORIN: The Time Lord has failed. The Wolves of Fenric have released me. 

ACE: The Doctor never fails. I've got faith in him. Complete faith. 

SORIN: Kill them. 

DOCTOR: It can't penetrate Ace's psychic force. 

SORIN: Time for the one final game, then. 

(Sorin picks up a poison vial and holds it near Ace's head.) 

SORIN: The choice is yours, Time Lord. I shall kill you anyway, but if you would like the girl to live, kneel before me. 

ACE: I believe in you, Professor. 

SORIN: Kneel, if you want the girl to live! 

DOCTOR: Kill her. 

SORIN: The Time Lord finally understands. 

DOCTOR: Do you think I didn't know? The chess set in Lady Peinforte's study? I knew. 

SORIN: Earlier than that, Time Lord. Before Cybermen, ever since Ice World, where you first met the girl. 

DOCTOR: 

I knew. I knew she carried the evil inside her. Do you think I'd have chosen a social misfit if I hadn't known? She couldn't even pass her chemistry exams at school, and yet she manages to create a time storm in her bedroom. I saw your hand in it from the very beginning. 

ACE: Doctor, no. 

DOCTOR: She's an emotional cripple. I wouldn't waste my time on her, unless I had to use her somehow. 

ACE: No! 

(Ace falls to her knees.) 

SORIN: Kill them. 

(The haemovore picks the payload of one of the bombs and walks towards Sorin, who backs away.) 

SORIN: Kill them, do you hear me? 

(It backs Sorin into the containment chamber.) 

SORIN: No! No. I command you! 

(The haemovore follows Sorin in and shuts the door behind them.) 

SORIN: No! No! No! No. 

(The Ancient One drops the payload, breaking the vials and filling the chamber with the deadly gas. They both die.) 

DOCTOR: Come on. It's over. 

ACE: Leave me alone! 

DOCTOR: We've got to get out of here! 

(The Doctor pulls Ace to her feet and pushes her outside.) 

ACE: Leave me alone!

[Naval camp]

(They slither and fall in the mud as there is an explosion in the bunker.) 

ACE: Couldn't even pass a chemistry exam. 

DOCTOR: I'd have done anything not to hurt you, but I had to save you from Fenric's evil curse. Your faith in me was holding the haemovore back. 

ACE: You said I was an emotional cripple, a social misfit. 

DOCTOR: I had to make you lose your belief in me. 

ACE: Full marks for teenage psychology. 

DOCTOR: It's not true, believe me.

[Maidens Point]

ACE: I don't love her! She's my mum, and I don't love her! What's wrong with me? Why can't I stop hating her? 

DOCTOR: You loved the baby. 

ACE: But I didn't know she was my mum! 

DOCTOR: Love and hate, frightening feelings, especially when they're trapped struggling beneath the surface. Don't be frightened of the water. 

(Ace pulls off her snood and dives in.)

[Underwater]

KATHLEEN [OC]: Audrey. It's all right, darling. 

ACE [OC]: I'll always love you. I'll always love you. I'll always love you. 

KATHLEEN [OC]: It's all right, darling. It's all right, darling. 

ACE [OC]: I'll always love you.

[Maidens Point]

(Ace splashes to the shore.) 

ACE: I'm not scared now. 

(They walk back up the shingle to the warning sign.) 

ACE: Dangerous undercurrents, Doctor? 

DOCTOR: 

Not any more. Niet!

It Is Not Going to Be Looked After Terribly Well....

BILL MOYERS: 

When I was growing up, Tales of King Arthur, 

Tales of the medieval knights, 

Tales of the dragon slayers were very strong in My World.

 

JOSEPH CAMPBELL: 

Dragons represent GREED, really. 

 

The European Dragon guards things 

in His Cave, and What He Guards are

Heaps of Gold 

and 

Virgins. 

 

And he can’t make use of either of them,

but he just guards. 

 

There’s no Vitality of Experience,

either of The Value of The Gold 

or of The Female whom he’s guarding there.

“Tonto wheeled the double stretcher down the aisles of body racks, looking for Jimmy Jitterman's body. 

He'd already found Rimmer's; it lay on the stretcher goo-eyed and tongue lolling; but he couldn't find Jimmy's. Thirty minutes passed, and he still couldn't find it. It wasn't here.

He opened the small sound-proofed box, and Jimmy and Rimmer bounced out.

'Your body's not here, Jimmy. They must have auctioned it already.'

'I'll take that one, instead.'

'That's my body,' said Rimmer, firmly.

'Was.'

'Now wait a minute. Me and that body go back years. It has great sentimental value. You can't just take my body.'

'Get him another one.'

'I don't want another one.'

'OK. Don't a get him another one.'

'OK, get me another one.'

The soundwaves bounced back into the box. Tonto unhooked the nearest body to him and slammed it on to the stretcher alongside Rimmer's.

***

When Rimmer opened his eyes, he found himself standing in front of himself, before he remembered Jimmy was in his body, now, and he had a new one.

Rimmer wasn't quite sure how he felt. Pretty peculiar was about the best label he could find.

Seeing Jimmy in his body, standing in a way he would never have stood, his lips twisting his features into an expression he'd never seen before, made him feel an emotion he'd never experienced.

Jealousy was part of it. Anger was there. Frustration, certainly. A large scoop of nostalgia. And the same feeling he'd once had when he lent his mountain bike to his brother Howard, knowing, without evidence, it wasn't going to be looked after terribly well. And strangest of all, a weird kind of 'glowy' feeling at the bottom of his stomach.

'OK, let's get out of here,' Jimmy was saying with Rimmer's voice from inside Rimmer's body. Then Jimmy did something that made Rimmer feel even more peculiar. He was one of those men, macho-bred, who like to stand with their legs apart, one hand over the groin of their trousers, quite openly cupping their testicles.

He felt very odd indeed, watching helplessly as another man idly juggled his own genitalia. Or rather, his ex-genitalia.

Before he could cry out: 'Hey - keep your filthy hands off my goodies,' the swing doors at the far end of the Transfer Suite slammed open, and six armed officers came in, firing.

Rimmer didn't know who to be scared for most: himself or his ex-self.

Jimmy, in Rimmer's body, was standing, almost contemptuous of the guards' barrage, in the middle of one of the aisles, firing off two handguns, stolen from Tonto's victims. He was laughing, too. He was actually laughing. Using Rimmer's vocal cords and Rimmer's laugh. The high-pitched giggle which Rimmer usually reserved for moments of high humour. Hardly appropriate in a pitched battle to the death.

'Out the back!' Tonto was yelling.

'You go,' Jimmy laughed in Rimmer's body. 'I got me some goons to kill!'

'Leave it - you don't stand a chance.'

'Who cares?'

He flicked his guns, Cagney-style, as if the wrist-snapping motion would give the bullets extra speed, and howled hysterically as small explosions of red burst out of the chests of three of the six guards, killing two and earning the third a permanent desk job.

Rimmer cowered, half-dazed in his new body as this fresh horror unfolded in slow motion before him.

Here was the body of Arnold J. Rimmer, gunning down security guards like ducks at an arcade and plainly enjoying it, in full view of three police witnesses.

Now how was that going to look in court?

He wasn't in it, but his body was a cop killer.

This seemingly untoppable horror was then topped by an even more untoppable horror, moments later, and this second untoppable horror was then topped itself by a third, even more untoppable horror less than ten seconds after that.

Something that belonged inside Rimmer's body hit the wall wetly, and Jimmy screeched and spun round, clutching Rimmer's shoulder.

'I've been hit!' he giggled. Then his elbow exploded into a cloud of red mist, spinning him around again. 'Twice!' He snorted laughter-spittle, as Tonto laid down some covering fire and edged towards him.

'Come on, we can still get out.' Tonto grabbed Jimmy and hauled him through the doorway, still firing.

Rimmer stumbled after them.

They dashed down a corridor. Tonto and Jimmy effortlessly accelerated away. Rimmer couldn't keep up. For some reason, running was incredibly painful. But the pain wasn't in his legs, it was in his chest. Just what was this body he'd wound up in? A cardiac victim? A chronic smoker? Then he realized it was because he wasn't wearing a bra, and his large breasts were bouncing madly up and down in front of him.

'Oh my God,' he screamed in a husky female voice, 'I'm a woman!' 

And he was. He was Trixie LaBouch.

Earth-51

JAMIE: 

You're not really going to do as he says, are you? 


DOCTOR: 

No, of course not. 

I said I'd think it over. 

Well, I've thought it over. 

We're staying on and fighting on.

 


ZOE: 

But we'll be fighting on in The Dark — 

We don't know where the next attack will come from. 

Medusa was bad enough!


JAMIE: 

Ah, Medusa. 

Yes, I read about that on This Machine here. 

Wee words keep coming out of it all the time. 


DOCTOR: 

Oh, yes? 


JAMIE: 

Look. 


DOCTOR: 

Let's have a look. 


JAMIE: 

There. Look. 


DOCTOR: 

(reads.) 

“—Cancel-Doctor-test-report-failure—“

Oh, I think I'm beginning to understand. 




JAMIE: 

Well, I wish I was. 


DOCTOR: 

Well, when someone writes about 

An Incident AFTER it's happened — 

That is HISTORY. 


JAMIE: 

Yes....


DOCTOR: 

But when The Writing comes •first•, 

That is FICTION. 

If we'd have fallen into The Master's trap, we would have •become• Fiction. 

Zunderell, The Cosmic Don Quixote is said to originally a native of Earth-51 :

That’s The Planet of The Apes — an ape being  a creature that copies something that it has seen someone else doing first — The Earth which Nix Uotan was originally charged with Monitoring, which is where The Gold Lamp/Central Power Battery appears in the form of a half-burried statue of a liberated slave-woman, at the point where The Land meets The Sea — Earth-51, as a patchwork mosaic Earth, seems to serve as an analogue something like The Collective Unconscious or The Zeitgeist — IdeaSpace or The Land of Fiction.

“Metron gave you a WEAPON against The Gods! WE NEED IT NOW!” — Which is What...?

Active Imagination  — it has to be. And Active Imagination = Will = Liberty

“This, I was trying to say, is what happens when you let bad stories eat good ones. This is what it looked like when you allow the Anti-Life Equation to turn all your dreams to nightmares.

  In the end, there was nothing left but darkness and the first superhero, Superman, with a crude wishing machine, the deus ex machina itself, and a single wish powered by the last of his own life force.

  He wished for a Happy Ending, of course.”

August

august (adj.)

"inspiring reverence and admiration, solemnly grand," 1660s, from Latin augustus "venerable, majestic, magnificent, noble," perhaps originally "consecrated by the augurs, with favorable auguries" (see augur (n.)); or else [de Vaan] "that which is increased" (see augment).

What advice do you have for the magicians out there who have a story to tell and want to storm the reality studio?

GM : Tell a different story. 

Tell a fresh story that speaks to its times and the people around you. 

A story that offers possibilities, exit strategies, rather than apocalypse and ruin. I can’t see that there’s anything else…

In the Wonder Woman book I’m doing, for instance, I’ve actively avoided writing the boy hero story that’s so ubiquitous as to seem inescapable —  the familiar story of the One, The Champion, The Joseph Campbell monomyth thing that drives so many Hollywood movies and YA stories. We’ve seen it. 

The Lion King. The callow youth loses mom or dad, or his comfortable place in the tribe, and he has to fight his way back to Save The Kingdom from its Corrupt Old Leader, before claiming The Captive Princess and becoming The New King and… ad infinitum. 

The Circle of Life if it only applied to boys. 

I thought, 

“Where is 

The Mythic Heroine’s Story?” 

In Ishtar Rising, Wilson talks about the myth of Inanna, and how she goes down into Hell and has to give up Everything of Herself to gain The Wisdom and Experience she can bring back to Her Tribe. 

Privileging The Network 

rather than 

The Sovereign Individual.

And so, as I thought about the differences between The Hero’s and The Heroine’s Journey, it gave me a bunch of different modes to work in. 

Finding ways to avoid telling the boy hero story again was quite liberating. It just gave me a bunch of new ideas, an interesting new way of telling stories that didn’t rely on the framework of The Hero’s Journey that Campbell talks about.”

I Know You'll Try Your Best

What is The Cost of Lies? 

It's not that we'll mistake them for The Truth.

The real danger is that if we hear enough lies, then we no longer 

recognise The Truth at all.

What can we do then? 

What else is left but to abandon even 

The Hope of Truth 

and content ourselves instead with Stories? 

In these stories, 

it doesn't matter 

who The Heroes are —

Who is to blame? 

In this story, it was 

Anatoly Dyatlov.

He was the best choice.

An arrogant, unpleasant man, 

he ran the room that night, 

he gave the orders 

and has no friends.

Or, at least, not important ones.

And now Dyatlov will spend the next ten years 

in a prison labor camp.

Of course, that sentence is doubly unfair.

There were far greater criminals than him at work.

And as for what Dyatlov did do,

 the man doesn't deserve prison.

He Deserves Death.

But instead, ten years for "criminal mismanagement.”

What does that mean? 

No one knows.

It doesn't matter.

What does matter is that, to Them, Justice was done.

Because, you see, to Them, 

A Just World is a SANE World.

There was nothing sane about Chernobyl.

What Happened there, 

What Happened after, 

even the good we did, 

all of it, all of it madness.

Well, I've given you 

Everything I Know.

They'll deny it, of course.

They always do.

I know you'll try your best.

And Let’s Get All The Children out of The building.

The character of Marshall Will Kane in High Noon is autobiographical, based on screenwriter 

Carl Foreman. 

Foreman was in the process of being blacklisted by Hollywood due to his previous Communist sympathies 

and his refusal to "name names" 

of others he knew who were also Communists . 

When he sought help from colleagues 

in the hope that they would vouch for him, 

most refused or had a long list of conditions. 

Foreman based many of the conversations that Will Kane has in the movie on his own experiences of being 

turned down for help.

Malachi 

Chapter 4 :

1

For, behold, the day cometh, that shall burn as an oven; and all the proud, yea, and all that do wickedly, shall be stubble : 

and the day that cometh shall burn them up, saith the LORD of hosts, that it shall leave them neither root nor branch.

2

But unto you that fear my name shall the Sun of righteousness arise with healing in his wings; and ye shall go forth, and grow up as calves of the stall.

3

And ye shall tread down the wicked; for they shall be ashes under the soles of your feet in the day that I shall do this, saith the LORD of hosts.

4

Remember ye the law of Moses my servant, which I commanded unto him in Horeb for all Israel, with the statutes and judgments.

5

Behold, I will send you Elijah the prophet before the coming of the great and dreadful day of the LORD :

6

And he shall turn the heart of the fathers to the children, and the heart of the children to their fathers, lest I come and smite the earth with a curse.

The Parson :

Our text today is from Malachi,

Chapter Four.

"For, behold, the day cometh, that shall burn as an oven, and all the proud, yea, and all that do wickedly, shall be..."

Yes?

Cain :

I'm sorry, Parson.

I don't want to disturb the services.

You already have.

You don't come to this church very often, Marshal.

And when you got married today, you didn't see fit to be married here.

What could be so important to bring you here now?

Cain :

I need help.

It's True, I haven't been a church-going man.

And maybe that's a bad thing.

And I didn't get married here today because my wife's a Quaker.

But I came here for help 

because there are people here.

I'm sorry, Marshal.

Say what you have to say.

Cain :

Maybe some of you already know it, but if you don't, it looks like Frank Miller's coming back on The Noon Train.

I need all the special deputies I can get.

Well, what are we waiting for? Let's go.

Hold it a minute. Hold it.

Before we go rushing out into something that ain't gonna be so pleasant, 

let's be sure we know what this is all about.

What I want to know is this :

Ain't it True that Kane ain't no longer Marshal?

And ain't it True there's Personal Trouble between him and Miller?

All right, all right. 

Quiet, everybody!

If there's a difference of opinion, let everybody have a say.

But let's do it like grown-up people.

And let's get all the kids out of the building.

I say it don't really matter if there's anything personal between Miller and The Marshal here.

We all know Who Miller Is 

and what Miller is.

What's more, we're wasting time.

All right. Coy.

Mr. COY :

Yes, we all know who Miller is.

But we put him away once.

And who saved him from hanging?

The politicians up north.

I say this is their mess.

Let them take care of it.

Sawyer.

Mr. SAWYER :

Well, I say this.

We've been paying good money right along for a marshal and deputies.

Now the first time there's any Trouble,

we're supposed to take care of it ourselves.

Well, what have we been paying for all this time?

I say we're not peace officers.

This ain't our job.

I've been saying right along, we ought to have more deputies.

If we did, we wouldn't be facing this thing now.

Just a minute. Just a minute.

Everybody, quiet!

Keep it orderly.

You had your hand up, Ezra.

I can't believe I've heard some of the things that have been said here --

You all ought to be ashamed of yourselves.

Sure, we paid this man 

and he wasthe best marshal this town ever had.

It ain't his Trouble, it's ours.

I tell you, if we don't Do What's Right,

we're gonna have plenty more Trouble.

So there ain't but one thing to do now.

And you all know what that is.

Go ahead, Kibbee.

This whole thing's been handled wrong.

Here's those three killers walking the streets bold as brass.

Why didn't you arrest them, Marshal?

Why didn't you put them in jail where they ought to be?

Then we'd only have Miller to worry about instead of the four of them.

I haven't anything to arrest them for, Mr Trumbull.

They haven't done anything.

There's no law against them sitting on a bench at the depot.

I can't listen to any more of this.

What's the matter with you people?

Don't you remember when a decent woman couldn't walk down the street in broad daylight?

Don't you remember when this wasn't a fit place to bring up a child?

How can you sit here and talk and talk and talk like this?

What are we all getting so excited about?

How do we know Miller's on that train, anyway?

Well, we can be pretty sure he's on it.

Time's getting short.

Parson, you got anything to say?

I don't know. The Commandments say,

"Thou shalt not kill."

But we hire men to go out and do it for us.

The right and the wrong seem pretty clear here.

But if you're asking me to tell my people to go out and kill and maybe get themselves killed, I'm sorry, I don't know what to say.

I'm sorry.

All right. I'll say this, what this town owes Will Kane here,

it can never pay with money.

And don't ever forget it.

He's the best marshal we ever had,

maybe the best marshal we'll ever have.

So if Miller comes back here today,

it's Our Problem, not his.

It's Our Problem 

because This is Our Town.

We made it with our own hands out of nothing.

And if we want to keep it decent,

keep it growing,

we've got to think mighty clear

here today.

And we've got to have the courage to do what we think is right, no matter how hard it is. All right.

There's gonna be fighting when Kane and Miller meet.

And somebody's going to get hurt, that's for sure. 

Now, people up North are thinking about this town.

Thinking mighty hard, thinking about sending money down here to put up stores and to build factories.

It'll mean a lot to this town. An awful lot.

But if they're gonna read about shooting and killing 

in the streets, what are they gonna think then?

I'll tell you. They're gonna think this is just another wide-open town, and everything we worked for will be wiped out.

In one day, this town will be set back five years.

And I don't think we can let that happen.

Mind you, you all know how I feel about this man.

He's a mighty brave man. 

A Good Man.

He didn't have to come back here today.

And for his sake and the sake of this town, I wish he hadn't.

Because if he's not here when Miller comes, my hunch is there won't be any trouble.

Not one bit.

Tomorrow we'll have a new marshal, and if we can all agree here to offer him our services,

I think we can handle anything that comes along.

Now, to me, that makes sense.

To me, that's the only way out of this.

Will, I think you better go while there's still time.

It's better for you, 

and it's better for us.

Thanks.