Hostis Humani Generis

ROMANA: 

The clipboard marks 

the spot -- I'll stand guard. 

 

(The Doctor climbs through the hole and up a ladder. 

When he's out of sight, Romana enters and heads for a staircase. 

The Doctor reaches the top of the ladder.) 

RORVIK: 

Is this what you're looking for, Doctor? 

(Rorvik drops the clipboard.) 

Tom: 

Look here, Rorvik. 

You've got to STOP this backblast. 

You'll kill us all. 

Rorvik, The Slaver-Captain : 

So YOU Say, Doctor. I Say, 

It's the only way OUT of here. 

(Rorvik stands on The Doctor's fingers.) 

Tom : 

You can't BLAST through those mirrors. 

You must REALISE by now, it just 

throws The Energy straight BACK. 

Rorvik, The Slaver-Captain : 

 It MUST Break; it HAS to Break

Everything BREAKS eventually. 

(He kicks The Doctor back down the ladder, comes after him 

and starts to strangle him with his own scarf. 

Romana arrives and tries hitting Rorvik with the clipboard.) 

Tom : 

Never mind the clipboard, short the cables. 

(The Doctor gives Romana the manacles.) 

Tom: 

Drain the main power line. 

Earth it to the ladder. 

ROMANA: 

I know -- I've 

already done it. 

(Rorvik lets The Doctor go and heads 

for the ladder to undo the damage.) 

Tom : 

Biroc? What are 

YOU Doing Here? 

BIROC: 

Nothing. 

Tom: 

It's alright for YOU -- 

BIROC: 

And for you, too. 

Do Nothing. 

Tom : 

Do Nothing? 

ROMANA: 

Of course, Doctor. 

Don't you see? 

Tom : 

Yes, that's right - 

Do Nothing, 

.......if it's the right sort of Nothing. 

(They join hands with Biroc and fade away. 

Rorvik has removed the manacles from the cable.) 

Rorvik, The Slaver-Captain : 

RUN, Doctor -- SCURRY off, 

back to your blue BOX. 

You're like ALL the rest.... 

Lizards when there's 

A Man's Work to Be Done -- 

I'm SICK of Your Kind; 

Faint-hearted, DO-nothing, 

lily-livered DEADweights. 

This is The End for ALL of You! 

I'm FINALLY Getting 

Something DONE! 

Bwahahahaha! 

Master Sol :

What are you?

The Stranger :

I have no name.

But the Jedi like you 

might call me… Sith.

Master Sol :

[panting]

Why risk discovery?

The Stranger :

Well, I… I did 

wear a mask.

Master Sol :

What do you want?

The Stranger :

Freedom.

[Mae yelps]

The freedom to wield 

my power the way I like.

Without having to answer 

to Jedi like you.

[breathing heavily]

I want a pupil,

an Acolyte.

But this one… [gasping]

went back on our deal.

She exposed me.

So, now I have to kill every 

single last one of you.

[Mae grunting, panting]

I don’t make The Rules.

The Jedi do.

And The Jedi say
I can’t exist.

They see my face, 

they all die.

Hostis humani generis (Latin for 'an enemy of mankind') is a legal term of art that originates in admiralty law. Before the adoption of public international law, pirates and slavers were generally held to be beyond legal protection and so could be dealt with by any nation, even one that had not been directly attacked.

A comparison can be made between this concept and the common law "writ of outlawry", which declared a person outside the king's law, a literal out-law, subject to violence and execution by anyone. The ancient Roman civil law concept of proscription, and the status of homo sacer conveyed by proscription may also be similar.

Background

Perhaps the oldest of the laws of the sea is the prohibition of piracy, as the peril of being set upon by pirates, who are not motivated by national allegiance, is shared by the vessels and mariners of all nations, and thus represents a crime upon all nations. Since classical antiquity, pirates have been held to be individuals waging private warfare, a private campaign of sack and pillage, against not only their victims, but against all nations, and thus, those engaging in piracy hold the particular status of being regarded as hostis humani generis, the enemy of humanity. Since piracy anywhere is a peril to every mariner and ship everywhere, it is held to be the universal right and the universal duty of all nations, regardless of whether their ships have been beset by the particular band of pirates in question, to capture, try by a regularly constituted court-martial or admiralty court (in extreme circumstances, by means of a drumhead court-martial convened by the officers of the capturing ship), and, if found guilty, to execute the pirate via means of hanging from the yard-arm of the capturing ship, an authoritative custom of the sea.[2]

Although summary battlefield punishment was conducted by certain nations at certain times with regard to pirates, it was regarded as irregular (but lawful if the attenuation of due process was dictated by urgent military necessity), as individuals captured with pirates could potentially have a defense to charges of piracy, such as coercion.[3] For instance, in early 1831, the 250-strong crew captured off Ascension was brought to Ascension and summarily hanged, as they were acting in a rebellious manner and threatening to overthrow the 30-man crew of HMS Falcon, a British sloop-of-war, which took them captive. As the summary punishment, in this case, was due to military necessity, there was clear evidence of the offense, and it was done proximate in time and location to the battlefield, it can be classified as merely irregular, and not a violation of the custom of the sea.[3]

Theorized extended usages of the term

The land and airborne analogues of pirates, bandits and hijackers are not subject to universal jurisdiction in the same way as piracy; this is despite arguments[4] that they should be.[citation needed] Instead these crimes, along with terrorism, torture, crimes against internationally protected persons[5] and the financing of terrorism are subject to the aut dedere aut judicare principle (meaning prosecute or extradite). In the current global climate of international terrorism some commentators have called for terrorists of all sorts to be treated hostis humani generis.[6]

Other commentators, such as John Yoo,[7] have called for the extension of this hypothetical connection of hostis humani generis from pirates to hijackers to terrorists all the way to that of "unlawful enemy combatants". Unlawful enemy combatants, or persons captured in war who do not fight on behalf of a recognized sovereign state, have become an increasingly common phenomenon in contemporary wars[dubious – discuss], such as the War in Afghanistan, Iraq War, Chechen Wars and Syrian Civil War.

Actual extended usages of the term

The only actual extension of hostis humani generis blessed by courts of law has been its extension to torturers. This has been done by decisions of U.S. and international courts; specifically, in a case tried in the United States in 1980, Filártiga v. Peña-Irala, 630 F.2d 876, the United States 2nd Circuit Court ruled that it could exercise jurisdiction over agents of the Alfredo Stroessner military dictatorship of Paraguay (in their individual capacity[8]) who were found to have committed the crime of torture against a Paraguayan citizen, using its jurisdiction under the Offenses Clause of the Constitution of the United States, the Alien Tort Claims Act, and customary international law. In deciding this, the court famously stated that "Indeed, for purposes of civil liability, the torturer has become like the pirate and slave trader before him: hostis humani generis, an enemy of all mankind." This usage of the term hostis humani generis has been reinforced by the ruling of the International Criminal Tribunal for the Former Yugoslavia in the conviction of a torturer in Prosecutor v. Furundžija.

In the Eichmann trial of 1961, the Jerusalem District Court did not explicitly deem Adolf Eichmann a hostis humani generis. The prosecution, however, invoked the standard, ultimately cited in the verdict by reference to piracy.

The Rule of One, The Power of Two

The Sith Lord Darth Plagueis 

was obsessed 

with Immortality.

Darth Plagueis attempted to create 

a Force dyad with Darth Sidious,

discovering in the process, the ability of 

Essence Transfer --

Evelyn, you're a disturbed woman,

You cannot Hope 

to provide...

The Tree of Woe

"And now we're going to hear a piece of Music that tells a very definite story. As a matter of fact, in this case, The Story came first and the composer wrote The Music to go with it. 

It's a very old story, one that goes back almost 2,000 years. A legend about A Sorcerer who had An Apprentice. He was a bright young lad, very anxious to learn The Business. 

As a matter of fact, he was a little bit too bright because he started practising some of The Boss's best magic tricks before learning how to control them -- 

One day, for instance, when he'd been told by His Master to carry water to fill a cauldron, he had the brilliant idea of bringing a broomstick to life to carry The Water for him. 

Well, this worked very well, at first. 

Unfortunately, however, having forgotten the magic formula that would make the broomstick stop carrying the water, he found he'd started something he couldn't finish."

Breaking Boys

FAGGING (from “fag,” meaning “weary”; of uncertain etymology), in English public schools, a system under which, generally with the full approval of the authorities, a junior boy performs certain duties for a senior. In detail this custom varies slightly in the different schools, but its purpose — the maintenance of discipline among the boys themselves — is the same. Dr Arnold of Rugby defined fagging as “the power given by the supreme authorities of the school to the Sixth Form, to be exercised by them over the lower boys, for the sake of securing a regular government among the boys themselves, and avoiding the evils of anarchy; in other words, of the lawless tyranny of brute force.” Fagging was a fully established system at Eton and Winchester in the 16th century, and is probably a good deal older. That the advantages of thus granting the boys a kind of autonomy have stood the test of time is obvious from the fact that in almost all the great public schools founded during the 19th century, fagging has been deliberately adopted by the authorities. 

The right to fag carries with it certain well-defined duties. The fag-master is the protector of his fags, and responsible for their happiness and good conduct. In cases of bullying or injustice their appeal is to him, not to the form or house master, and, except in the gravest cases, all such cases are dealt with by the fag-master on his own responsibility and without report to The Master. Until recent years a fag’s duties included such humble tasks as blacking boots, brushing clothes, and cooking breakfasts, and there was no limit as to hours; almost all the fag’s spare time being so monopolised. This is now changed. Fagging is now restricted to such light tasks as running errands, bringing tea to the “Master’s” study, and fagging at cricket or football. At Eton there is no cricket fagging, and at most schools it is made lighter by all the fags taking their turn in regular order for one hour, so that each boy has to “fag” but once in so many weeks. At Rugby there is “study-fagging” — two fags being assigned to each Sixth Form boy and made responsible for the sweeping out and tidying up of his study alternately each week, — and “night-fagging” — running errands for the Sixth between 8.30 and 9.30 every evening,—and each boy can choose whether he will be a study-fag or night-fag. The right to fag is usually restricted to the Sixth Form, but at Eton the privilege is also granted the Fifth, and at Marlborough and elsewhere the Eleven have a right to fag at cricket, whether in the Sixth or not.

1911 Encyclopædia Britannica, 

Volume 10 — Fagging

The Theatre of Cruelty

Artaud's Theatre of Cruelty

In his book The Theatre and Its Double, Artaud expressed his admiration for Eastern forms of theater, particularly the Balinese. He admired Eastern theater because of the codified, highly ritualized physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty." By cruelty, he meant not sadism or causing pain, but rather a violent, physical determination to shatter the false reality which, he said, lies like a shroud over perceptions. He believed that text had been a tyrant over Meaning, and advocated, instead, for a theater made up of a unique language, halfway between thought and gesture. He also believed that sexual activity was harmful to the creative process and should be avoided if one hoped to achieve purity in one's art.

Antonin Artaud described the spiritual in physical terms, and believed that all expression is physical expression in space. He advocated a system of "social therapy" through theater.

The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid 

(Antonin Artaud, 

The Theatre of Cruelty).

An outline of Artaud's Theatre of Cruelty

Artaud had a pessimistic view of the world, 

but he believed that theater could affect change.

Remove the audience from the everyday, and 

use symbolic objects to work with the emotions and soul of the audience.

Attack The Audience's senses through an array of technical methods 

and acting so that the audience would 

be brought out of their desensitisation 

and have to confront themselves.

Use the grotesque, the ugly, and pain 

in order to confront an audience.

Philosophical views

Imagination, to Artaud, was reality; dreams, thoughts, and delusions are no less real than the "outside" world. Reality appears to be a consensus, the same consensus the audience accepts when they enter a theater to see a play and, for a time, pretend that what they are seeing is real.

His later work presents his rejection of the idea of the spirit as separate from the body. His poems glorify flesh and excretion, but sex was always a horror for him. Incest, cannibalism, and deicide were instead normal urges, proved by the activities of tribal cultures untainted by civilized Western man. Civilization was so pernicious that Europe was pulling once proud tribal nations like Mexico down with it into decadence and death, poisoning the innocence of the flesh with the evil of a God separate from it. The inevitable end result would be self-destruction and mental slavery, the two evils Artaud opposed in his own life at great pain and imprisonment, as they could only be opposed personally and not on behalf of a collective or movement. He thus rejected politics and Marxism wholeheartedly, which led to his expulsion by the Surrealists, who had begun to embrace it.

Like Nietzsche and Buddha, Artaud saw suffering as essential to existence, and the price one must pay to become a complete human being. He thus rejected all utopias as inevitable dystopias.

Influence

Theatrical practitioner Peter Brook took inspiration from Artaud's "Theatre of Cruelty" in a series of workshops that lead up to his well-known production of Marat/Sade.

The Living Theater was also heavily influenced by him.

The Body of a King

Ownership of The Truth 

subverts The Pursuit of it.

“In the early 1990s, the Western democracies seemed to be The Future.

The collapse of The Soviet Union meant that their ideas 

were now going to spread all across The World.

But at Home, in both Britain and America, there were still forces deep in the heart of both societies that had little to DO with Democracy.

It seemed that despite all the changes of the past 30 years, 

that underneath, the OLD structures of Power and The Corruption 

and The Anger that created, was STILL there.

In Los Angeles in March 1991, Rodney King was 

chased and stopped by police for drunken driving.

Despite offering NO Resistance, he was 

beaten REPEATEDLY by FOUR officers.

It was videoed by a man watching from a balcony.

He took it to The Police, but NO-ONE was interested.

So he gave the tape to a local TV station.

When it was shown, there was an outburst of anger against the police violence.

Four of the officers were put on trial.

But they were ALL acquitted by an overwhelmingly white jury.

“Due to the escalation of the situation, and the seriousness of the problems that are occurring, The Sheriff has mobilised ALL department personnel.”

For six days, thousands of people rose up and rioted across Los Angeles.

It was only STOPPED whenthe National Guard and soldiers from Marines were brought onto the streets.

It was an outpouring of the anger that had been simmering throughout the 1980s in the black community — that despite ALL the reforms and the changes in attitudes since the 1960s, nothing 

had REALLY changed.

It seemed that those in Power in America were still DEEPLY racist, and would use violence AGAINST  blacks in America to MAINTAIN that Power —

“ALL of it needs to STOP, but I'm gonna to tell you...

Get down on our knees and pray to God that the violence….

I know that The Government, whatever, can't STAND us black people — He's doing everything in the world to make The Black Man be extinct.

But I'm going to tell you one thing, 

Us black people are gonna to SURVIVE —

And that's Wrong about — 

the black people tearing up the, you know, 

burnin’ down buildings, that's WRONG.

But still, through it all, 

We Gonna SURVIVE!!

So f**k everybody, I'm off —“

“….All right, that's just an example 

of the frustration that's being FELT here —“

In Britain, a series of scandals revealed that dozens

of innocent people had been

held in jail...

..some for over 15 years.

They included the Guildford Four

and the Birmingham Six.

Most of them were Irishmen who'd

been accused of being

members of the IRA and planting

bombs in English cities.

Every time they had tried to

prove their innocence,

they had been blocked by some

of the most senior figures

in the British establishment,

despite overwhelming

evidence of false confessions

and faked evidence.

Eminent men at the very

centre of power,

from the most senior law lord

to the Attorney General

and to the Commissioner

of the Metropolitan Police,

all of them, it was alleged, knew

that the prisoners were innocent.

But they had done nothing,

and the evidence remained

locked away...

..because they had an unshakeable

conviction that the establishment

must never be shown to be wrong.

Finally, in March 1991,

the Birmingham Six were

freed at the Old Bailey.

Ladies and gentlemen.

For 16 and a half years,

we have been used as political

scapegoats for people

in there at the highest.

The police told us from the start

that they knew we hadn't done it.

They told us they didn't care

who'd done it.

They told us that we were selected

and that they were going to

frame us just to keep

the people in there happy.

That's what it's all about.

To save face.

Justice? I don't think them people

in there have got the intelligence

nor the honesty to spell the word,

never mind dispense it.

They're rotten.

But there were others, also

at the heart of power in Britain,

who seemed to have lost all

contact with reality.

The intelligence agencies,

from MI6 to GCHQ,

whose job was to watch and monitor

what was happening in the world,

had completely failed to predict

the collapse of the Soviet Union.

Mrs Thatcher, who had supported

the spies throughout the 1980s,

was shocked.

Her foreign policy adviser wrote...

"All that intelligence that they

gave us didn't tell us

"the one thing we needed to know.

"That the Soviet Union

was about to collapse."

It was a colossal failure

of the whole Western system

of intelligence.

But some of the spies still didn't

believe what was happening.

Sir Percy Cradock was head of

the Joint Intelligence Committee.

Despite everything, he was convinced

the Soviets were just

faking the collapse.

They were just up

to their usual tricks.

They were still planning

to take over the world.

Both Britain and America were

societies that had been

built on empire and conquest through

violence and the exercise of power.

But neither of them

had ever faced up to this.

And instead, they had both built

dreamlike myths

about their exceptionalism,

to shield and protect themselves.

But in both cases, those myths

were rooted in fear.

In Britain at the start

of the 20th century,

not only were those in charge

frightened by what

they had done abroad,

with the slave trade and in China,

they now had a feeling

that it was coming closer,

that something dangerous might also

be happening inside England itself.

The Empire had led to giant

industrial cities

rising up all across England.

They were dark, frightening places

where millions of people

lived in appalling conditions.

What alarmed those in charge was

the violence and the anger that

was building up there among what

was called the masses.

But the danger also seemed to come

from the top of society as well.

From the new industrialists and

bankers, who ran the global empire.

They also seemed to be

out of control.

There was a wave

of financial scandals

and no-one seemed to be

able to stop them.

The novelist EM Forster wrote...

"England is being menaced by the

inner darkness in high places

"that has come with this

commercial age."

Trapped by what they saw

as a danger below

and corruption above,

the middle classes retreated.

They turned away into another

imaginary version of England,

where there were none

of these threats.

It was invented for them by a whole

generation of writers,

artists and musicians who,

in an act of

collective imagination,

created a complete dream

image of England's past...

..one that still haunts

the country today.

At its heart was a vision of a

natural order in the countryside,

outside the cities.

One of the key figures was a man

called Cecil Sharp.

He travelled through England

recording old songs,

and he filmed himself and his

friends learning old rural dances.

Sharp made it absolutely clear

that this was a political project.

His aim was to create a new

kind of English nationalism

which had, at its heart,

the idea of The Folk.

It was a concept that he had

taken from German nationalism :

The Innocent rural people

and Their Culture.

Now, is the sort of dancing he does

the dancing that would have been

We Have it Coming

"Unforgiven" - We All Have It Coming HD

EXT DAY -- UNDER A TREE

(MUNNY and KID await thier reward. 

MUNNY is standing surveying the landscape while KID 

sits against the tree drinking from a bottle of whiskey. 

In the distance we see a rider approaching.)

KID

Was that what it was like in the old days, Will? 

Everybody riding out shooting, smoke all 

over the place, folks yelling, 

bullets wizzing by?

MUNNY

I guess so.

KID

Shit. I thought they was going to get us. 

I was even scared a little. Just for a minute. 

Was you ever scared in them days?

MUNNY

I can't remember. 

I was drunk most 

of the time. 

KID

I shot that fucker three times. 

He was taking a shit and 

he went for his pistol and 

I blazed away. First shot... 

I got him right in the chest. 

Say, Will...

MUNNY

Yeah,

KID

That was the first one.

MUNNY

First one what?

KID

First one I ever killed.

MUNNY

Yeah?

KID

You know how I said I shot five men? 

It weren't true. That Mexican that 

come at me with a knife, I just 

busted his leg with a shovel. 

I didn't kill him neither.

MUNNY

Well, you sure killed the hell 

out of that fella today.

KID

Hell ya!

(Drinks, on the verge of tears)

I killed the hell out of him, didn't I. 

Three shots and he was taking a shit! 

MUNNY

(Looking at him) 

Take a drink, Kid.

KID

(Drinks)

Jesus Christ. It don't seem real. 

How he ain't gonna never 

breathe again, ever. 

And the other one, too. 

All on account of 

pulling a trigger.

MUNNY

It's a hell of a thing , killing a man. 

You take away all he's got
and all he's ever
gonna have.

KID

Yeah. Well, I guess they had it coming.

MUNNY

We all have it coming, kid.

(KATE  rides up on a horse)

MUNNY

I was watching you, seeing 

that you wasn't followed.

KATE

Silky and Faith, they rode off to the east 

and two deputies was following them. 

(She hands a bag to MUNNY who 

turns and holds it out to KID)

MUNNY

Here. Want to help me count this stuff?

KID

I trust you, Will.

MUNNY

Well don't go trusting me too much. 

In fact, we'll give Ned his share together that

way you'll know I ain't holding out on ya.

KATE

(Confused)

Ned's share?

MUNNY

Yeah. He went south, 

we'll catch up to him.

KATE

Ned..... He's Dead.

(Both MUNNY and KID stand)

MUNNY

What do you mean he's dead? 

He went south yesterday. 

He ain't dead.

KATE

They.... they killed him. 

I thought you knew that.

MUNNY

Nobody killed Ned. 

He didn't kill anyone. 

He went south yesterday. 

Why would anybody kill Ned? 

Who killed him?

KATE

Little Bill. The Bar-T boys caught him 

and Little Bill, he beat him up. 

He was making him answer questions 

and beating him up and then 

Ned just died. They got a sign on him 

saying he was A Killer. 

MUNNY

They got a sign on him!

KATE

In front of Greely's

MUNNY

A sign on him in front of Greely's.

(She nods) 

These questions 

Little Bill was asking, 

what kind were they?

KATE

Uh... About where 

you and him was.

MUNNY

Then what?

KATE

A cowboy come in saying you killed 

Quick Mike in a shithouse at the Bar-T.

MUNNY

So Little Bill killed him 

for what we done.

KATE

Not on purpose, but he started 

hurting him worse, 

making him tell stuff. 

First Ned wouldn't 

say nothing, and then 

Little Bill hurt him so bad 

and he said who you was.

 

He said how you was really 

William Munny out of Missouri and 

Little Bill said "The same William Munny 

that dynamited the Rock Island 

and Pacific in '69 killing women 

and children and all" and Ned said 
you done worse than that. Said you was 

more cold blooded than William Bonney 

and how, if he hurt Ned again, you was 

going to come kill him like you 

killed a U.S. Marshall in '70.

(As she talked MUNNY has begun to drink 

slowly from the bottle of whiskey.

It is as if his past is coming back to him 

and with it all his old habits)

MUNNY

But that didn't scare 

Little Bill, did it?

KATE

No sir.

(He corks the bottle and throws it to the ground. He turns to KID who has been watching in

amazement)

MUNNY

Give me your Schofield.

KID 

What for, Will?

MUNNY

Give it to me.

KID

(Scared) Yeah, sure.

(Hands the gun to 

MUNNY who checks it) 

You go on, keep it. I'm never 

going to use it again. 

I don't kill nobody no more. 

I ain't like you, Will. 

MUNNY

You'd better ride 

on back, Miss. 

(She rides off)

KID

(Motions towards bag) 

Go on, keep it. All 

of it, It's yours. 

MUNNY

What about your spectecles 

and fancy clothes?

KID

I guess I'd rather be blind 

and ragged than dead.

MUNNY

You don't have to worry, Kid. 

I ain't gonna to kill ya, 

you're the only friend I got.