Thursday, 23 June 2022

Fascist Nursing

It Happened Here (1964) 
Pauline Murray, Sebastian Shaw

Honour :
There you are.
Well, it's good to see you,
but you might've let me know.

Pauline Murray :
You can't imagine the trouble I've had
keeping this billet for you.
The landlady's been nearly frantic
trying to get other people in here.

Honour :
You might've phoned or something,
the number's on the card.

Pauline Murray :
Honour, have you got anything to drink?

Honour :
Are you feeling all right?

Pauline Murray :
Yes, I'm all right. But...
Something awful happened.
After you'd left. After you'd got away.
We went back to the house
and there were partisans in it.
I think all the others are dead.
I think I'm the only one that got away.
It's just all rather frightful.

Why have they still got this stuff on the window?
Surely the planes can't get through as far as this?

Honour :
Air raid precautions. 
Just in case.

Pauline Murray :
Thanks, Honor.
This is real coffee. I haven't tasted 
anything like this for ages.

Honour :
I got it on my ration card this morning.
I got a job at the food office right away.
Of course they're crying out for nurses, really.

I thought I might join this
'Immediate Action' Organisation,
you remember I did those courses at the WI.
But they really want properly trained nurses, like you.

Pauline Murray :
I'm not getting involved with any organisation.
I'm just going to do district nursing again,
the same as I did at home.
Do they have districts down here,
or is it all controlled from hospital?

Honour :
I don't really know.
But this organisation sounds the thing.

Pauline Murray :
Yes, but it's probably political.
And I'm not going to become involved
in any political organisation.

Honour, when Dick was killed, I felt I wanted
to slaughter every German I saw on sight.
But now I feel all we've got to do
is try and get back to normal.

Honour :
Well, I must go and get my identity cards.
I'll take you over to the Labour Centre.

Pauline Murray :
Sorry, Honour.
I've had it, I couldn't move.

Honour :
Well, you could go tomorrow,
I suppose, but you'll be a day late.
Don't blame me if you get into hot water.
And that's my bed.

Officer Presence






Sergeant MacDonald will continue
with the training discussion
on Officer Safety. Sergeant?

Sgt. MacDonald :
We've been talking about
Patrol Bureau Memorandum 39.
Like it says, an officer gets into
many different kinds of 
emotionally charged situations.

The best guarantee 
any of you have
that such a situation 
won't get out of hand is 
"Officer Presence."

In simple English, that means...
...remember, when you're 
up against a criminal,
if YOU believe that 
You're a Better Man than he is,
he'll believe it, too.

Any questions?
All right, fall in for inspection.

Reed :
I guess there is more to Officer Presence than just being there.
Does that mean, you got more Presence if you're as big as Baldwin?

Mallory :
That's not Presence, that's lard.
I had a partner once that had the best appearance of anybody I ever saw.

Reed :
Is that right?
How was his Presence?

Mallory :
Absent.

Reed :
Malloy?

Mallory :
Yeah?

Reed :
About that Officer Presence business, does it really work?

Mallory :
It depends.

Reed :
On what?

On whether you really understand how to use it.

Reed :
The Trouble is, I don't think 
I DO understand.

Mallory :
What?

Reed :
How to use it.

Mallory :
Well, why didn't you ask some questions 
back at roll call?

Reed :
I don't know. 
I guess I was just afraid of 
sounding stupid back there.
You know, in front of 
the whole watch.

Mallory :
Besides, you figured you could always ask me.

Reed :
You're My Partner. 
It's supposed to be part of your job.

Mallory :
Okay, ask.

Reed :
I'd like to know how you impose Your Presence 
other than by, well, just being there.

Mallory :
You let people know 
Who You Are, 
What You Represent.
Mostly, its The Way You 
Talk to 'em.

Reed :
You really think that does it, huh?

Mallory :
Usually. Unless your voice cracks in the middle.






Reed :
Malloy?

Mallory :
Yeah?

Reed :
Just one thing, did you know
your gun was empty?

Mallory :
Yeah, I knew it.
Trouble was if I'd stopped to reload, 
I could've wound up dead.

[police radio chattering]

Reed :
You know that stuff The Sergeant was
talking about today, 
Officer Presence?
I guess I just got The Message.











Wednesday, 22 June 2022

An Anarchy of Faith


….Anarchy is The ONE state of affairs which  the masses 
will not tolerate for LONG….”

— JFC Fuller





JOSEPH CAMPBELL: We want to think about God. God is a thought, God is an idea, but its reference is to something that transcends all thinking. I mean, he’s beyond being, beyond the category of being or nonbeing. Is he or is he not? Neither is nor is not.


Every god, every mythology, every religion, is True in this sense: 

it is true as metaphorical of the human and cosmic mystery.


He who thinks he knows doesn’t know. He who knows that he doesn’t know, knows.


There is an old story that is still good — the story of the quest, the spiritual quest, that is to say, to find the inward thing that you basically are. All of these symbols in mythology refer to you — have you been reborn? Have you died to your animal nature and come to life as a human incarnation? You are God in your deepest identity. You are one with the transcendent.


BILL MOYERS: The images of God are many. Joseph Campbell called them “the masks of eternity,” and said they both cover and reveal the face of glory. All our names and images for God are masks, Campbell said, they signify that ultimate reality, which by definition transcends language and art.


A myth is a mask of God, too, a metaphor for what lies behind the visible world. As teacher, scholar and writer, Joseph Campbell spent his life in the study of comparative religion. He wanted to know what it means that God assumes such different masks in different cultures. We go east of Suez and see people dancing before a bewildering array of fantastic gods. When those people come here, well, Campbell told the story of the young Hindu who called on him in New York and said, “When I visit a foreign country, I like to acquaint myself with its religion. So I bought myself a Bible and for some months now have been reading it from the beginning. But, you know, I can’t find any religion in it.”


Campbell, who became president of the American Society for the Study or Religion, was at home in the sacred scriptures of all the world’s great faiths. He found comparable stories in them: stories of creation, of virgin births, incarnations, death and resurrection, second comings, judgment days. Quoting one of his favorite Hindu scriptures which he translated from the Sanskrit, he concluded that “truth is one, the sages speak of it by many names.”


Joseph Campbell began his journey into this literature of the spirit after his imagination was excited by a visit to the Museum of Natural History in New York when he was just a boy. We met there a few months before his death and talked through a long evening, about the masks or eternity.


Is there something in common in every culture that creates this need for God?


JOSEPH CAMPBELL: Well, I think anyone who has an experience of mystery and awe knows that there is a dimension, let’s say, or the universe that is not that which is available to his senses. There’s a wonderful saying in one of the Upanishads, “When, before a sunset or a mountain and the beauty of this or that, you pause and say, ‘Ah, that is participation in divinity.'” And I think that’s what it is, it’s the realization of wonder. And also the experience of tremendous power, which people of course living in the world of nature are experiencing all the time. You know there’s something there that’s much bigger than the human dimension.


And our way of thinking in The West largely is that God is the source of the energy. 

The way in most Oriental thinking, and I think in most of what we call ‘primitive’ thinking, also, is that God is the manifestation of the energy, not its source, that God is the vehicle of the energy

And the level of energy that is involved or represented determines the character of the god. 


There are gods of violence, there are gods of compassion, there are gods that unite the two, there are gods that are the protectors of kings in their war campaigns. 

These are personifications of the energy that’s in play, and what the source of the energy is. What’s the source of the energy in these lights around us? I mean, this is a total mystery.


BILL MOYERS: Doesn’t this make of faith an anarchy, a sort of continuing war among principalities?


JOSEPH CAMPBELL: As Life is, yes. 


I mean, even in your mind, when it comes to doing anything, there will be a war : A decision as to priorities, what should you do now?


Or, in relationship to other people, there will be four or five possibilities of my way of action. 


And the notion of divinity or divine life in my mind would be what would determine my decision. 

If it were rather crude, it would be a rather crude decision.


BILL MOYERS

But is Divinity just 

What We Think?



JOSEPH CAMPBELL

Yes.




BILL MOYERS: What does that do to faith?


JOSEPH CAMPBELL: Well, it’s a tough one about faith.


BILL MOYERS: You are a man of faith-


JOSEPH CAMPBELL: I’m not…


BILL MOYERS: You’re a man of wonder and…


JOSEPH CAMPBELL: Yeah, I don’t have to have faith, I have experience.


BILL MOYERS: What kind of experience?


JOSEPH CAMPBELL: Well, I’ve experience of the wonder, of the life, I have experience of love, I have experience of hatred, malice — I’d like to punch the guy’s jaw, and I admit this. But those are different divinities, I mean, from the point of view of a symbolic imaging. Those are different images operating in me.


For instance, when I was a little boy and was being brought up a Roman Catholic, I was told I had a guardian angel on my right side and a tempting devil on my left, and when it came to making a decision of what I would do, the decision would depend on which one had most influence on me. And I must say that in my boyhood, and I think also in the people who were teaching me, they actually concretized those thoughts.


BILL MOYERS: They did what?


JOSEPH CAMPBELL: It was an angel. That angel is a fact and the devil is a fact, do you see; otherwise, one thinks of them as metaphors for the energies that are afflicting and guiding you.


BILL MOYERS: And those energies come from?


JOSEPH CAMPBELL: From your own life. The energy of your own body, the different organs in your body, including your head, are the conflict systems.


BILL MOYERS: And your life comes from where?


JOSEPH CAMPBELL: Well, there you are. From the ultimate energy that’s the life of the universe. And then you say, well, somebody has to generate that. Why do you have to say that? Why can’t it be impersonal? That would be Brahman, that would be the transcendent mystery, that you can also personify.


BILL MOYERS: Can men and women live with an impersonality?


JOSEPH CAMPBELL: Yes, they do all over the place. Just go east of Suez. In the East, the gods are much more elemental.


BILL MOYERS: Elemental?


JOSEPH CAMPBELL: Elemental, less human and more like the powers of nature. I see a deity as representing an energy system, and part of the energy system is the human energy systems of love and malice, hate, benevolence, compassion. And in Oriental thinking, the god is the vehicle of the energy, not its source.


BILL MOYERS: Well, of course the heart of the Christian faith is that these elemental forces you’re talking about embodied themselves in a human being in reconciling mankind to God.


JOSEPH CAMPBELL: Yes. And the basic Buddhist idea is that that is true of you, as well, and that what Jesus was a person who realized that in himself, and lived out of the Christhood of his nature.


BILL MOYERS: What do you think about Jesus?


JOSEPH CAMPBELL: We just don’t, know about Jesus. All we know are four contradictory texts that tell us what he did.


BILL MOYERS: Written many years after he lived.


JOSEPH CAMPBELL: But I think we know what Jesus said. I think the sayings of Jesus are probably pretty close. But when you read the Thomas gospel, the Gospel According to Thomas, which was dug up there in that, with those other gnostic texts, it has all the flavor of one of the synoptics, Matthew, Mark or Luke, except that it doesn’t say quite the same thing.


There’s one wonderful passage, it’s the last one in the gospel, actually. “When will the kingdom come?” Now, in Mark 13, I think it is, we hear that the end of the world is going to come. That is to say, a mythological image, that is, the end of the world, is taken as a reference to an actual, physical, historical fact to be. When you read the Thomas gospel, Jesus says, “The kingdom of the father will not come by expectation; the kingdom of the father is spread upon the earth and men do not see it.”


So I look at you now in that sense and the radiance of the presence of the divine is known to me, through you.


BILL MOYERS: Through me?


JOSEPH CAMPBELL: You, sure.


BILL MOYERS: A journalist?


JOSEPH CAMPBELL: Jesus also says in this text, “He who drinks from my mouth will become as I am, and I shall be he. “He’s talking from the point of view of that being of beings which we call the Christ, who is the being of all of us. And anyone who lives in relation to that is as Christ. And anyone who incarnates, or rather brings into his life the message of the Word, is equivalent to Jesus. That’s the sense of that.


BILL MOYERS: So that’s what you mean when you say, “I am radiating God to you.”


JOSEPH CAMPBELL: You are, yes.


BILL MOYERS: And you to me.


JOSEPH CAMPBELL: And I’m speaking this seriously, yes.


BILL MOYERS: Oh, I take it seriously. I happen to believe the same as you without being able to articulate it as you do. I do sense that there is divinity. The divinity is in the other.


JOSEPH CAMPBELL: So you are the vehicle, you are as it were radiant of the spirit. And that’s…why not recognize it?


BILL MOYERS: I’ll tell you what the most gripping scripture in the Christian New Testament is for me. It says, “I believe. Help thou my unbelief.”


JOSEPH CAMPBELL: I believe in what?


BILL MOYERS: I believe in this ultimate reality, and that I can experience it, that I do experience it, but I don’t have answers to my questions. I believe in the question, Is there a God?


JOSEPH CAMPBELL: I had a very amusing experience, which might be well worth telling. I was in the New York Athletic Club swimming pool, and you know, you don’t wear your collar this way or that way when you’re in a swimming pool. And I was introduced to a priest, “This is Father So-and-so, this is Joseph Campbell.” I’m a professor, he’s a professor at one of our Catholic universities. So after I’d had my swim, I came and sat down beside, in what we call, you know, the horizontal athlete situation, and the priest is beside me. And he said, “Mr. Campbell, are you a priest?” I said, “No, Father.” He said, “Are you a Catholic?” I said, “I was, Father.” He said, and now he had the sense to ask it this way, “Do you believe in a personal God?” I said, “No, Father.” And he said, “Well, I suppose there is no way to prove by logic the existence of a personal God.” And I said, “If there were, Father, what would be the value of faith?” “Well, Mr. Campbell, it’s nice to have met you.” And he was off. I really felt I had done a jujitsu trick there.


But that was a very illuminating conversation to me. The fact that he asked, “Do you believe in a personal God?” that meant that he also recognized the possibility of the Brahman, of the transcendent energy.


BILL MOYERS: Well, then, what is religion?


JOSEPH CAMPBELL: Well, the word religion means religio, linking back, linking back the phenomenal person to a source. If we say it is the one life in both of us, then my separate life has been linked to the one life, religio, linked back. And this becomes symbolized in the images of religion, which represent that connecting link.

Cosmic!







Beyond ‘Good’ and ‘Evil’.




“ Even better was Starlin’s masterpiece Warlock. An acid-drenched existential journey that began with some of his best work, Warlock was another reinvention of a preexisting character, a throwaway Kirby concept given flesh and meaning by more urgent times. Warlock was an artificial Adam stepping from a cocoon created by genetic engineers, a notion Kirby left undeveloped in a half-cooked Fantastic Four story.

  Starlin conveyed all the backstory in one of his quirky opening monologues, then set the character free, wrapped now in a billowing, red-and-yellow high-collared cape—the traditional garb of the mystic superhero, you may recall. Adam Warlock was a psychedelic champion who did nothing by halves and who had chosen as his enemy not crime, injustice, or even other superheroes but the Universal Church of Truth, a monolithic star-conquering faith led by a godlike sadist known as the Magus, who just happened to be Adam Warlock’s own corrupted future self!
  In “1000 Clowns!” the ever-suffering Adam Warlock was cast adrift on a planet of clowns, all toiling on a gigantic garbage heap scattered with diamonds. The head lunatic was Len Teans, a near-anagram of Stan Lee, while the clown who painted the same smiling face on everyone he met was Jan Hatroomi, an almost anagram for John Romita, Marvel’s art director and the man who enforced the Marvel house style.
  The word cosmic came to typify these wild forays into the often drug-illuminated imagination, and there were more to come. These strange new superhero stories were created by younger writers and artists, longhairs and weirdos who were pouring into the comics industry, drawn to Marvel’s iconoclastic universe of possibilities.
  Urbane, and openly self-aware, writer Steve Englehart plunged Doctor Strange into a series of voyages to the beginning of the universe, beyond the veil of death, and the hinterlands of his own psyche. Englehart’s rush of pop philosophy came wrapped in the kind of arresting imagery that looked best when redrawn on the covers of school textbooks: floating, laughing skulls, bone horses, hooded lepers clanging handbells in dismal, postmortem cities. Unlike Starlin, who wrote and drew his own stories, Englehart worked with a series of talented artistic collaborators to bring a new twist to the superhero landscape. He took Roy Thomas’s fascination with continuity to new levels of jaw-dropping ingenuity, and he had a voice that brought new life to old characters, along with a worldly nonjudgmental counterculture perspective that spoke to an older audience.
  His most accomplished collaborator on Doctor Strange was artist Frank Brunner, whose style ran Neal Adams–style naturalism through a European filter of Alphonse Mucha and Aubrey Beardsley. Brunner combined the Adams aesthetic with the decorative Art Nouveau–inspired touch that Brit artist Barry Smith was bringing to Conan the Barbarian. (Like so many of his generation, Brunner was able to profit from the growth of specialist comics and fan culture. He went into the lucrative portfolio market with one set of limited-edition, beautifully drawn illustrations depicting Lewis Carroll’s Alice wandering around Wonderland with her tits and muff out, which was indicative of where things were at that time, as childhood toys and storybook characters were suddenly sexualized.) Orthodox fans of the Ditko original, like my uncle Billy, had no time for Englehart and Brunner’s research-heavy, decadent take on Doctor Strange. Their otherworldy dimensions were easily rooted in books they’d read, or aped Gustave Doré’s nineteenth-century illustrations of the underworld, and lacked the genuine menace and eerie schizoid originality of Ditko’s visionary landscape.
  The same sense of liberation that had fueled the hedonism of the sixties and early seventies was turning kids’ comics into revolutionary tracts. Freedom. Magic. Rebellion. Even the superheroes were getting in on the act. The patriot days were behind them, and camp was over. Superheroes were Beat hipsters in search of meaning on the Great Road, wherever it led. Their enemies were blind Gnostic Archons, ossified, personified forces of restriction.
  The semiunderground hippie superheroes of Englehart, Starlin, and writer Steve Gerber had one thing in common. They could and would fight to defend what had become the Marvel house philosophy: a kind of college-liberal morality that even with a new cynical edge never lost sight of the essential ideals of heroic self-sacrifice that powered the Marvel universe. “We won’t get fooled again!” the Who had sung, playing out the end of the sixties hippie dream with a typically bitter working-class pragmatism. The gleaming silver spaceships were rusting in their hangars. For America, there was more torment, more soul-searching, and the heroes were right there suffering with the nation, on the cross, perishing beneath merciless stars.
  In cinema, the auteur era had arrived. UCLA film school graduates were bringing to Hollywood rule-breaking influences from the European cinema of the nouvelle vague. Even leading men changed, as a vogue for mournful or manic, rumpled Everyman antiheroes allowed fine but quirky actors like Donald Sutherland, Elliott Gould, and Dustin Hoffman to strut their stuff upon the stage as unlikely heartthrobs. In the era of the disillusioned antihero, even the “I told you so …” voice of Woody Allen could be sexy. The sixties had feminized men and made gay or dandy styles and haircuts acceptable. As women considered new social possibilities, men chameleoned wildly in response. Some tried to appear unthreatening, others tried to define a new sexuality based around wit or intelligence. The square-jawed cowboy superhero retreated beneath the mocking stings of gay men and women, and intellectuals. It was as if nature was giving everyone a chance to get laid. Even populist Hollywood was wide open to new talent, new voices with a more authentic cadence. For a few years, maybe even less, anything could happen as we watched a young art form grow up and stretch its wings.
  At Marvel, the books were going out unedited in an atmosphere of anarchy. The name on the door of Marvel’s editor in chief changed five times in 1976 as a succession of writers accepted the job and then just as swiftly pulled out. It was impossible for one mortal to supervise all of Marvel’s output, with the result that none of it was supervised. This collapse of the command structure allowed for some of the most subversive superhero stories ever to slip through the net and influence the next generation of creators. Only three years previously, Spider-Man had defied the Comics Code by responsibly tackling the menace of teenage drug taking. Now Rick Jones was tripping in the Negative Zone.
  A new current was flowing. A new polarity. Fashion was about to turn on its heels again. The flame of the interior was burning low, like the weakly sparking fused neurons of the burnouts, the acid casualties who hadn’t been able to handle the Nightside, the Negative World when it came knocking, as it always must. The new drugs were cocaine and heroin, offering escape from the visceral soul-wrenching effects of psychedelic drugs into the hard sheen of gleaming self-regard or numb self-obliteration. The impulse was to turn outward again. Like so many young seekers in the chilly, sweaty, shivering comedown mornings, superhero comics were crying out for some input from the real world before they lost touch with the concrete and the clay altogether.
  The psychedelic wave shaded into the self-indulgent, self-absorbed musical bywater known as progressive rock, or “prog.” It seems hardly surprising that music and comics were on this parallel course at the same time. These were reverberations from an original gong.

  And as if summoned by some collective invocation, a new Dark Age came on like a freight train from the shadows under a long tunnel.”


Sunday, 19 June 2022

Power



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

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

GEORGE LUCAS
Well, Children love Power because children are The Powerless. 

And so their fantasies all center on having Power. 

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

And, some, you know, 
will be attracted 
to Luke Skywalker because 
He’s The Good Guy
GEORGE LUCAS
But ultimately, we all know that Darth Vader’s more powerful than he is.
And as time goes on, you discover that 
He is more powerful because he’s the — 

He’s The Ultimate Father Who is All-Powerful.

BILL MOYERS: 
This is where I disagree somewhat with our friend Joseph Campbell who said that :
" The Young Man has to slay His Father 
before he can become 
An Adult himself. "

It seems to me, 
and I think you’re right on 
here, that the — that
The Young Man 
has to identify — 
has to recognise 
and acknowledge that 
He is His Father and 
is not His Father.

"TO BE OR NOT TO BE?"





But Vader isn't evil - he's a good man who does incredibly evil things under extraordinary circumstances and extreme duress to protect the people he loves.



And then when those things are apparently gone and taken away from him, he just surrenders and stops caring - about any one or any thing.

Saturday, 18 June 2022

That CAN’T Be Good for Your Eyes



Hyper-rapture was a supposed form of MADNESS 
acquired from staring into Hyperspace for a prolonged time. 
The standard procedure for Imperial ships was 
to opaque the transparisteel slabs while traveling 
through Hyperspace to prevent this.

However, Darth Vader ENJOYED staring at the kaleidoscopic 
and swirling patterns of light, 
and Cronal found it soothing to gaze into what he thought of 
as the emptiness outside The Universe.

What Makes You Think….



It’s not her — 
it’s Vader.

He’ll Attack, Next.
He Doesn’t Have 
The Paitence for a Siege.

Joyce is serving dinner to Faith. 

Joyce
So you're A Slayer, too. 
Isn't that interesting! 

(smiles)
 Do you like it? 
(sets down the bowl) 

Faith: 
God, I love it! 

Buffy: 
(wants the bowl) 
Uh, Mom? 

Joyce: (waves her off) 
Uh, just a second, honey. 
(scoops broccoli onto Faith's plate) 
You know, Buffy never talks that way. Why do you love it? 
Buffy gives up and grabs a pair of tongs to take some fries for herself. 

Faith
Well, when I'm fighting, it's like 
The Whole World goes away and 
I only know one thing: 

That I'm gonna win 
and they're gonna lose. 

I like that feelin'. 

(digs into her food) 
Joyce smiles at that and takes her seat. 

Buffy: 
Well, sure. Really beats that dead feeling you get 
when they win and you lose. 

Faith: 
I don't let that kind 
of negative thinking in. 

Joyce
(points at Faith) 
Right. (shakes her finger) 
Right. That could get you hurt. 
Buffy can be awfully negative sometimes. (to Buffy) 
See, honey, you 
gotta fight that. 
(smiles) 

Buffy
(smiles back weakly) 
I'm workin’ on it. 

(keeps taking fries)







There's no way out, Master. ( Straining ) Admit you are beaten. Roken: What is it? What's wrong? It's over. I'm going back. You can't quit. I fought for too long. You can't just throw that away. It won't make a difference. They want all of us. Vader wants me. If you surrender, she died for nothing. He'll keep coming. That's why I have to stop him. You're going to fight him? He expects me to surrender. He knows I'll do everything I can to protect these people. You'll be on your own. No. Haja, look out for her, will you? You want to tell me how you're gonna fight without a weapon? There are other ways to fight. ( Grunting ) Stormtrooper: Seize him. Come on, where is it? 

Reva: 
Inform Lord Vader, 
Kenobi is ours
He's on his way. 
You're gonna die soon. 

Ben :
( Whispering ) 
You're not bringing him to me. 
I'm bringing him to you

This isn't over yet —
There are families back there. Children
Are you gonna let him do it again, 
what he did to you? 
We could end this together

What Makes You THINK 
He Won't SEE it Coming

Because ALL He’ll See is ME.

I’m The Juggernaut, Bitch!





The Beast :
He’s going 
for The Boy!

The Princess :
Not if I Get There first.


Don’t You Know Who I am…?
I’m The JUGGERNAUT, Bitch!!









Interviewer : 
Would you care to comment on 
how you plan to fight Balboa? 
What's your strategy? 


Clubber Lang : 
Don't need any. 
Balboa's so predictable and stupid, 
the man comes straight ahead. 
He's tailor-made for me and he's GONNA get hurt.


Interviewer : 
Do you hate Rocky? 


Clubber Lang : 
No, I don't hate Balboa,
but I pity the fool.

And I will destroy ANY man 
who tries to TAKE what •I• got! 


Interviewer : 
What's your prediction for the fight? 

Clubber Lang : 
My prediction? 


Interviewer : 
Yes, prediction. 


[Clubber looks into camera]  


Clubber Lang : 
Pain!

Clubber Lang : 
[to Rocky Right Before The Final Fight]  
Hey fool! 
You ready for another beating? 
You shoulda never came back! 


Ellen Page





Cobb :
I’m gonna improvise.
Listen, there’s something 
you should know about me. 
About Inception.

An Idea is like A Virus — Resilient.
Highly contagious.
And the smallest seed 
of an idea can grow.

It can grow to Define… 
or Destroy You.

The smallest idea, such as:
Your World is not Real.”

Simple little thought that changes everything.
So certain of Your World. 
Of what’s Real.


Do you think he is?
Or do you think 
he’s as lost as I was?

I know What’s Real, Mal.

No creeping doubts?
Not feeling persecuted, Dom?
Chased around the globe
by anonymous corporations 
and police forces, the way 
The Projections persecute 
The Dreamer?

Admit it.
You don’t believe in 
oneReality’, any more —

So choose :
Choose to be here.
Choose Me.


You know What I Have to Do :
I have to get back
to Our Children because 
You left them —
Because you left us.

Mal :
You’re Wrong.

I’m not wrong.

You’re confused.
Our children are here.
And you’d like to see 
their faces again, 
wouldn’t you?

Yes, but I’m gonna see them 
up above, Mal.

Up above?
Listen to yourself.
These are our children.
Watch. James? Phillipa?

Don’t do this, Mal. Please.
Those aren’t my children.

You keep telling yourself that, 
but you don’t believe it.

No, I know it.


What if you’re wrong?
What if I’m what’s real?
You keep telling yourself 
what you know.
But what do you believe?
What do you feel?

GuiltI feel guilt, Mal.
And no matter what I do, 
no matter how hopeless I am… 
no matter how confused, 
that guilt is always there… 
reminding me of The Truth.


What Truth?

That the idea that caused you to question your reality came from me.




You planted the idea in my mind?

What is she talking about?

The reason I knew Inception 
was possible was because 
I did it to her first.
I did it to my own wife.

The 
Why?

We were lost in here.
I knew we needed to escape, 
but she wouldn’t accept it.

She had locked something away, 
something Deep Inside :
A Truth that she had once 
known, but chose to forget.

And she couldn’t break free.
So I decided to search for it.

I went deep into the recess 
of her mind and found 
that secret place.
And I broke in… 
and I planted an Idea.
A simple little idea that 
would change everything :

That Her World 
wasn’t Real;
That Death was 
the only Escape.

The Cobb of 5 Years Earlier 
You’re waiting for A Train —
A Train that’ll take you far away. 
You know where you hope 
This Train will take you;

But you can’t know for sure.
 Yet, it doesn’t matter
Now, tell me why?

The Mal of 5 Years Earlier 
Because You’ll 
Be Together!

Cobb :
But I never knew that 
That Idea would grow 
in her mind like 
a cancer

That even after she woke…
That even after you 
came Back to ‘Reality’… 
That you’d continue to believe
Your World wasn’t Real;
That Death was the 
only Escape.

The Princess :
Mal, no. Jesus.

Mal :
You infected my mind.

Cobb :
I was trying to 
Save You.

Mal :
You betrayed me.
But you can make amends. 
You can still keep Your Promise.
We can still be together, right here… in The World we built together.

The Princess :
Cobb, we need to get Fischer.

Mal :
You can’t have him.

Cobb :
If I Stay Here, 
will you let him go?

The Princess :
What are you talking about?

Cobb :
Fischer is on the porch —
Go check he’s alive, Ariadne.

The Princess :
Cobb, you can’t do this.

Go check he’s alive right now. Do it.

He’s here. And it’s time, 
but you have to come now.

You take Fischer with you, all right?


You can’t stay here to be with her.


I’m not. Saito’s dead by now.
That means he’s 
down here somewhere.
That means I have 
to find him.

I can’t Stay with Her any more, 
because She Doesn’t Exist.

Mal
I’m the only thing 
you do believe in 
anymore.

Cobb
No. I wish. I wish more 
than anything, but… 
I can’t imagine you with all your complexity… 
all your perfection, 
all your imperfection.


You all right?
Yeah.

Cobb
Look at you. You’re just a shade
You’re just a shade of My Real Wife. 
And you were the best 
that I could do, but… 

I’m sorry, you’re just 
not good enough.

Mal
Does this feel Real?

Cobb :
(turning away from her to Ariadne
What are you doing?

The Princess :
Improvising.