Sunday, 31 January 2021

Popeye: Gopher Spinach

 




Popeye: Gopher Spinach

1954

From The Public Domain Movie Database: Popeye tries to rid his garden of a gopher, in the end the gopher saves Popeye from a bull.

Electric Earthquake

 





Superman: Electric Earthquake

1942

A mad scientist attempts to blow up Manhattan. Lois Lane investigates and Superman saves the day. Animation by Steve Muffati and Arnold Gillespie, story by Seymour Kneitel and Isadore Sparber, music by Sammy Timberg. Produced in 1942.


Popeye: Greek Mirthology

 





Popeye: Greek Mirthology

1954

From The Public Domain Movie Database: Popeye tells his four nephews the story of his great Uncle Hercules in order to get them to eat spinach.

My guest spot with Jasveer Singh Dangi

https://www.jasveersinghdangi.com/podcast-1/episode/335a6713/author-to-author-with-mark-antony-raines 

All Episodes

Abracadabra

Author to Author with Mark Antony Raines

08:38
30:20
Jasveer Singh Dangi|

Episode 5 of my podcast with Mark Antony Raines aka Ghostman is my second podcast in this segment. I am still learning & hope to improve with every new episode. Do share your feedback & listen till the end ðŸ˜ƒ


Mark is an Author, Cartoonist, Blogger, Youtuber, Podcaster. He is an amazing human being & believes in helping others. He has been through a near death experience which changed him life completely. Hear him talk about his life & why he calls himself Ghostman in this podcast...


Here are the links to Mark's profile on various platforms: 


Blog - https://ghostmanraines.blogspot.com/


Podcast - https://open.spotify.com/show/0Sn9FK4cER5AXAwYUCuuzZ


Youtube Channel - https://www.youtube.com/watch?v=uCHDl4lABcc


Facebook - https://www.facebook.com/freddy.eastwood.125


To view his books visit: https://www.amazon.co.uk/s?i=digital-text&rh=p_27%3AMark++Antony+Raines&s=relevancerank&text=Mark++Antony+Raines&ref=dp_byline_sr_ebooks_1


Podcast available on my website - https://www.jasveersinghdangi.com/podcast-1/episode/335a6713/author-to-author-with-mark-antony-raines


#jasveersinghdangi #author #podcast #blog #blogger #youtuber #markantonyraines #ghostmanradio #ghostmanraines

HOLSWORTHY DR WHO ADVENTURE BY MARK ANTONY RAINES

 A whiring sound of pistons going up and down is heard echoing in my front room. 

Suddenly out of thin air at frist a blue light then a sixties police telephone box materializes  .

The door opens a woman appears and says to me.

"Mark I have a mission for you as you the closest to the source the tardis has recorded recent alien species activity in Holsworthy "

"I always wanted this day to happen as I be a fan of yours since your frist regreration on earth as the grumpy old one my personal favourite is the one with the long scarf and his liking of the sweets called jelly babies; I hope I have not offended you "

The newest doctor looks at me in a bit of a huff.

Doctor "Bit rude but that OK I be  leaving soon anyway; so could you just pop up the local square and see what us happening; so ta ta for now places to go aliens to see"

And with that the  Doctor shuts the Tradis door and leaves me getting ready for my mission 

.Mission check list 

1.Yellow coat

2 Crutch to aid walking and use as weapon of self defense 

3 Camera to record event 


So I go out with my step son Shane by my side as he needs to go to the supermarket to get daily supplies and our trusty mad as a box of frogs Jack Russell called Mitzi.

We walk up towards the square in Holsworthy Devon we gI shopping frist then all three of us walk up through the square until we see the two alien species sitting casually outside on a bench. 

We stare at them as they have no eyes or face but I hear words form in my head via thought transfer .
"We are the Dinwiddie Generals come to your puny town to slowly take over human kind to be our slaves"
"I don't think so "I replied rather bravely 
The Dinwiddie Generals started to put thought s in my head of all my fears"
I out of sheer panic thought quickly I remembered I had my pumpkin face mask on and my hat that lights up .
"What if I could scare them away "

At once the unpleasant thought s left my mind and when I looked up the Dinwiddie Generals had gone. 
Then the Tradis appeared and a hand gesture  waved me inside. 
I went in a dispite  the numberous times I had seen the Tradis interior I was still awestruck. 
Doctor "Well done in done the rest with the Dinwiddie Generals spaces and send them packing would you liketo be my new companion "
"No thanks too much excitement for me "
Doctor "Oh never mind have a jelly baby instead "



 


Saturday, 30 January 2021

Jasveer Singh Dangi AUTHOR I CORPORATE TRAINER I HEALTH & SAFETY TRAINER I FOUNDER - THE COG PUBLICATION LLP, INDIA







 JASVEER SINGH DANI WWW.JASVEERSIGHDANGI.COM-https://www.jasveersinghdangi.com


Jasveer is an Author, Behavioral trainer, award -winning Health and Safety professional & Founder of The Cog Publication LLP, India. He is currently based in Canada.

In 2018, he was awarded by IISSM for his contributions to the Health and Safety Training domain. He was part of the team of trainers that trained 22,000 volunteers of Commonwealth Games in Delhi in 2010. In 2019, Literature Light recognized him as top 100 debut authors for his debut book Version One and a Half (Version 1 ½). He was also named as the ‘Author of the Fest’ at the Writing Wizards Fest 2020 for his book Double One Zero (110) – Out of the shadows. The Writing Wizards Fest is an initiative by The Twilight of Poem (www.twilightofpoem.in).

He loves the outdoors. He has done extensive high altitude climbing in India and Nepal. He is a big movie buff, which is quite evident given the use of quotes and songs from movies at strategic places in all his books. He’s an avid observer of his surroundings and uses characters and instances from his everyday situations for his stories.

Author s link Amazon _https://www.amazon.in/Books-Jasveer-Singh-Dangi/s?rh=n%3A976389031%2Cp_27%3AJasveer+Singh+Dangi

TO THE 20 PER CENT WHO DON'T BELIEVE OR BEHAVIOUR IS IDIOTIC


 To the 20 per cent of people who don't believe or just carry on as if everything was normal watch this 

ELIZABETH MILES -independent author, entrepreneur, podcaster, and coach-Website:www.MarchForthMediaCompany.com

 





Bio:

Elizabeth Miles is an independent author, entrepreneur, podcaster, and coach, on a mission to help others recognize, and use their power to pivot. As a life and business coach, she helps others find and use their authentic voice to create from an intuitive space. She is the co-founder of March Forth Media Company, an organization dedicated to helping independent creatives share their message with the world.  Her main message is this: You are never stuck! You are never lost! You are never alone! At any given moment, you can use your power to pivot, make a new choice, and put yourself on an entirely new path in life.  

Elizabeth is a Philadelphia local, a mom, loves baking and cooking, music, and spending time in nature. 

Author of:
This Is Where You Pivot: The Shift from Fear to Freedom: https://amzn.to/2WRH9eAThe Journey to Healing: Love, Yourself: https://amzn.to/3hpvYTRConnect You: A Guide to Your Authentic Life: https://amzn.to/2JopLL4
Host of: The Power to Pivot Podcast (available on Anchor, Apple, Spotify, and Amazon)

To Connect with Elizabeth:
Website:www.MarchForthMediaCompany.comEmail: MarchForthMediaCo@gmail.comFacebook: https://www.facebook.com/MarchForthMediaCompanyInstagram: www.instagram.com/marchforthmediaco  

YouTube channel -YouTube: March Forth Media Co.

-- 

Best, 

    Elizabeth

Elizabeth Miles

Founder, March Forth Media

Harness the power of your authentic voice to inspire and motivate the world!

www.marchforthmediaco.com

Follow along on social media: Facebook       Instagram

Join our online courses on Thinkific

Book: This Is Where You Pivot: The Shift from Fear to Freedom

Book: The Journey to Healing: Love,  Yourself

Now launching: Intuition 101: A Primer Course for Writers, Artists, and other Creatives.

A Bosko Cartoon Collection

 -https://publicdomainmovie.net/movie/a-bosko-cartoon-collection




A Bosko Cartoon Collection

Bosko is an animated cartoon character created by Hugh Harman and Rudy Ising in 1927 and the first recurring character in the Leon Schlesinger cartoon series Looney Tunes. "Although Harman and Ising based Bosko's looks on Felix the Cat, Bosko, like Mickey, got his personality from the blackface characters of the minstrel and vaudeville shows popular in the 1930s. Whereas Disney masked Mickey by making him a mouse, Harman and Ising made Bosko a genuine black boy. Keeping with the stereotypes of the minstrel shows, Bosko is a natural at singing, dancing, and playing any instrument he encounters." (http://en.wikipedia.org/wiki/Bosko). He is a curious and lively boy who finds a (musical) solution to every problem, accompanied by his girlfriend Honey and his dog Bruno. The plots are generally weak though. Some Bosko cartoons found on the Internet weren't included in this collection. The following cartoons are included (brief descriptions from The Public Domaain Movie Database): - Congo Jazz, 1930 Bosko runs into all kinds of wild animals during this jungle visit. - Ain't Nature Grand!, 1931 Bosko decides to take a break and enjoy nature. He goes fishing, dances with a frog, and watches some bees buzz around a waterfall. He decides that nature isn't so great after the bees give chase. - Bosko's Holiday, 1931 Bosko takes Honey on a picnic. - Bosko Shipwrecked!, 1931 Bosko is found aboard a ship at sea during a terrible storm and winds up shipwrecked on an island populated with canibals & ferocious animals. - Bosko's Soda Fountain, 1931 Bosko is merrily working away in a soda shop where he makes the best ice cream sodas. - Bosko at the Zoo, 1932 Bosko & Honey set out for a fun-filled day at the zoo where they encounter lions, gorillas, and lots of other strange creatures. - Big-Hearted Bosko, 1932 Bosko and his pet dog are enjoying skating on a frozen pond when the dog stumbles upon an abandoned baby in a basket. Bosko and his dog proceeds to take the orphan home and do their best to get the child to quit crying. - Bosko's Party, 1932 Bosko head to a surprise party at Honey's house in the rain, however Honey's dog comes close to ruining the surprise. - Bosko and Bruno, 1932 Bosko & Bruno find themselves in the path of a speeding train while on one of their travels. - Bosko and Honey, 1932 Bosko goes to Honey's house after she has some trouble with Wilber. They decide to go on a picnic, but it gets rained out. Click HTTP to find individual files.

4.00

Popeye: Taxi-Turvy





Popeye: Taxi-Turvy


 Popeye and Bluto both run a taxi service. Bluto bullies Popeye and gets him to turn over all of his cab fares. Popeye eventually gets the better of Bluto. Animation by Tom Johnson and Frank Endres. Music by Winston Sharples. Produced in 1954.

Popeye: Assault and Flattery


 



Popeye: Assault and Flattery

1956

From The Public Domain Movie Database: Bluto is suing Popeye for assault. They both show the judge some scenes from some of their cartoon to prove their case.

THE ORPHANS BY MARK ANTONY RAINES

 It was a black plutonium night;no star light  and not even a moonbeam to break the darkness. 

The weather was so cold if you placed a pint of milk outside the contents inside the plastic bottle  would be frozen into icicles. 

In the background and car is heard screeching off the tarmac road ;leaving behind four forelorn  subject s .

Each wandering  what had their done to deserve to arrive at this situation. 

The four looked  at their new surrounding s and instantly began to sense a dread of foreboding was in the atmosphere. 

Clive the oldest of the four spoke frist. 

"Well  it's not use feeling scared and sorry for youselfs  as we need to get moving to find food;something to drink and some forms of warmth  if we going to see a way out of this situation "

Clive had ginger hair was physically stronger then the other remaining three orphans. 

Clive had an inbred sense of responsibility inherited from his mother and father who both instilled in him that he as the big brother to his brother and sister s it was his job to protect them.

Annie in her usual timid  voice said. 

" It's easy  for you to be notified scared ;I don't want to move in case mum and dad come to find us?"

Annie had jet black hair and was naturally shy and timid from an early age which sometimes held her back from enjoying day to day thing so the rest of her family took for granted. 

Thomas with his multi coloured hair  which to him made it look like he was a bit rebellious and thought rules were for square s :people who liked to do boring things: was the next to speak  up .

"Oh don't be silly Annie ;mum and dad did not even see us leave as we were forced against our will and dumped wherever here is"

Sally the final member of these abandoned orphans was the last to speak. 

She had   fine blonde hair  which to some appeared white which she never truly understood. 

"No that's do as Clive says as I am beginning to feel hungry and to be really honest quite cold ".

All four journeyed on,the trek was getting rougher  due to the terrain of the unfamiliar scenic rustic  countryside. 

Each of the four were beginning to tire their limbs feeling like lead weights. 

Thier bellys were rumbling :thrist queaching thier dry chapped lips when suddenly in the distance using his excellent eyesight Clive spots a bright light in a square shaped window. 

" Look Annie, Thomas ,Sally  hope is in the horizon "

"Why?" Exclaimed Sally. 

"Don't you see that bright lights in the square window it means possible food,water; warmth "

Says Clive. 

"What if the people in the home are like the others that were so cruel and horrid to us in the frist place and left us in the cold ?"said Thomas. 

"Not everyone is the same we have to take a leap of faith to have a chance of survival "says Annie. 

Inside the house with the window with the bright light on were sitting Mr and Mrs Sherwood. 

An elderly couple sipping a cup of tea and eating a round of cheese and pickle sandwiches listening to the local radio phone in talk show. 

Mrs Sherwood got up to take the dirty cups and dishes to the sink which just happened to be by the window showing the bright light against the darkness almost like when people used to put candles in the window to show the way home to their loved ones the way home. 

Poor Clive; Annie,Thomas; Sally decided it was time to sleep their eyelid s were getting really heavy even a matchstick would not stop them from closing. 

The sandman was waiting and by his side was a dark shadow of whom one day we all shall face and his name was death.

Annie let out a final sounding faint cry which luckly or was it fate was heard by Mrs Sherwood as she opened the window to let out the steam from the hot water tap  to get ready to wash all the items used for teatime usually in fairy liquid. 

She always used fairy washing up liquid as  the adverts told you it was the best. 

On hearing the faint cry she informed Mr Sherwood to go outside to look were the cry came from. 

So Mr Sherwood got up from his chair went towards the back door and opened it to his astonishment  four young cats were curled up looking bedraggled and on the verge of losing their tiny life's. 

In a flash he scooped all of them up and quickly put them inside by the warm fire and Mrs Sherwood made sure to give them food and some milk full of cream. 

So that's when the orphans became adopted as part of the family of Mr and Mrs Sherwood. 






Sample -The Meaning and Purpose of our lives by David F Jackson -The Key with permission from author





Amazon Book LINK -https://www.amazon.co.uk/Meaning-Purpose-our-lives-ebook/dp/B00CQMO74A/ref=sr_1_2?dchild=1&keywords=David+f+jackson&qid=1611291436&sr=8-2





 Book BLURB


At long last science is showing that we cannot die and we cannot lose our minds, for we know that matter and energy cannot be created or destroyed. The fact that matter and energy cannot be created tells us much of what we need to know, but the fact that it cannot be destroyed is hugely significant for our bodies are matter and energy and they are of little use without our minds to control them, therefore our minds are energy and also matter, and as our bodies return to the earth which is where they came from, our minds together with our spirit and our soul also return to where they came from. The science involved here is:- THE FIRST LAW OF THERMO-DYNAMICS.


And now there is a new science concerning (the) finer and lighter matter of the human aura. We know that the human aura exists because many people can see it. It is becoming clear that it is much more than just an energy field for there are people who can see how it works and how it connects to the human body. As our knowledge increases it is possible to understand how the human aura holds the key to our existence. The meaning and purpose of our lives can now be revealed in great detail and the answers to the big questions which have perplexed philosophers throughout the ages can be clearly and simply stated in this book.

Product details

  • ASIN : B00CQMO74A
  • Publisher : David F Jackson (30 April 2014)
  • Language : English
  • File size : 679 KB
  • Text-to-Speech : Enabled
  • Screen Reader : Supported
  • Enhanced typesetting : Enabled
  • X-Ray : Not Enabled
  • Word Wise : Enabled
  • Print length : 55 pages
  • Best Sellers Rank: 2,594,269 in Kindle Store (See Top 100 in Kindle Store)
    Book Review
  • I found this book to be thought provoking and positive. A proper eye opener. This book really questions what life is all about and you journey through it,excellently written by the author.
  • 5-5🌟🌟🌟🌟🌟highly recommend by Ghostman Radio Station

Wednesday, 20 January 2021

Popeye: Cooking With Gags

 





Popeye: Cooking With Gags

1954

From The Public Domain Movie Database: Bluto plays all sorts of gags on Popeye and Olive on April fools day

Betty Boop: Snow White

 





Betty Boop: Snow White

1933

Memorable rendition of "St James Infirmary" by Cab Calloway



File:Snow White (1933).webm
Snow-White is a film in the Betty Boop series from Max Fleischer's Fleischer Studios directed in 1933. Dave Fleischer was credited as director, although virtually all the animation was done by Roland Crandall. Crandall received the opportunity to make Snow-White on his own as a reward for his several years of devotion to the Fleischer studio, and the resulting film is considered both his masterwork and an important milestone of The Golden Age of American animation. Snow-White took Crandall six months to complete.

DR WHO THE EDGE OF DESTRUCTION AIRDATE 8 FEB 1964. #DRWHO#COMEDYFRIENDLYZOMBIELTD

 





The Edge of Destruction

Original Airdate: 8 Feb, 1964

Episode One - The Edge of Destruction

[Tardis]

(The Tardis is in flight after leaving Skaro, when there is bang, it shakes and everyone falls over. It goes dark. We rejoin the action with the lights back on. The Doctor is lying on the floor, Ian slumped in a chair, Susan draped over the console. Barbara is the only one awake.)
BARBARA: Mister Chesterton? Ian Chesterton? I thought
(Susan wakes. She looks almost drunk)
SUSAN: I know you. Ow!
BARBARA: Have you hurt your head?
SUSAN: Yes, terribly.
BARBARA: Well, let me look at it.
SUSAN: My neck hurts too. It's going away now. That's better. I couldn't think where I was
BARBARA: Do you want to sit down?
SUSAN: No, it's all right. Grandfather!
BARBARA: He's cut his head open.
SUSAN: I've got some ointment.
BARBARA: Well get some water too.
SUSAN: Yes.
(As she stands up again, Susan grabs her neck in pain, then sees Ian in the chair)
SUSAN: Who's that? Oughtn't we to go and help him?
BARBARA: I don't like the look of this cut at all.
SUSAN: Water. What happened?
BARBARA: I don't know. Well, go on.
(Ian has woken, and is standing by the chair)
IAN: You're working late tonight, Miss Wright. Can I have a glass of water?
BARBARA: Susan's fetching some.
IAN: Susan Foreman, you mean?
BARBARA: Yes.
IAN: What's he doing there?
BARBARA: Oh, he's cut his head. Are you feeling all right?
IAN: Dizzy. Shouldn't we help him? His heart seems all right, and his breathing's quite regular. I don't think that cut's as deep as you think.
BARBARA: What do we do if his skull's fractured?
IAN: I don't think it's as bad as that.
DOCTOR: I can't take you back, Susan. I can't.
IAN: He's rambling.
BARBARA: The ship! The Tardis!
IAN: What?
(Susan in in the next room. She has cut a length of bandage, and is now at the liquids dispenser)
SUSAN: Empty?
(She gets a sachet of something from it)
SUSAN: That's funny.
(Susan returns to the console room and shrieks. The main doors are open)
SUSAN: The doors! Well, they can't open on their own. They can't!
IAN: Perhaps he did it.
SUSAN: Grandfather?
IAN: Did it before he cut his head open.
SUSAN: No, he wouldn't.
BARBARA: They must have been forced open when we crashed.
IAN: Crashed?
SUSAN: No, the ship can't crash. It's impossible. Grandfather. Grandfather!
BARBARA: Susan, it's all right.
SUSAN: No. No, there's something here. Inside the ship.
IAN: What?
BARBARA: But that's not possible.
SUSAN: You feel it, don't you?
BARBARA: Give me the bandage. What's this?
SUSAN: The coloured part is the ointment. You'll find the colour disappearing. It goes into the wound. When the bandage is completely white, it means the wound is healed.
(Ian walks towards the open doors, and they close in front of him)
IAN: Did you do that?
SUSAN: We haven't moved.
(He walks back to the console, and the doors open again. Towards them and they shut)
SUSAN: I'm going to try the controls.
BARBARA: Be careful, Susan.
(Susan stops, screams No! and collapses next to the Doctor)
IAN: She's fainted. But she was all right a minute ago.
BARBARA: Yes, and a while before that, you were all unconscious.
IAN: What's going on here?
BARBARA: He's beginning to stir. Take the girl and put her to bed.
(Ian hauls Susan up and over his shoulder)
IAN: If anything happens, let me know.
BARBARA: Well, what could happen?
IAN: I don't know.
(Ian leaves, carrying Susan)
BARBARA: How are you?
DOCTOR: My head.
BARBARA: You cut your forehead, but you'll be all right.
DOCTOR: It hurts here.
BARBARA: Where? Show me. I can't see anything. There's no bump or bruise or anything.
DOCTOR: No, I was hit on the back of the neck.

[Room]

(Ian lets an S shaped recliner down from the wall and puts Susan on it)
IAN: Water.
(He goes to the dispenser)
IAN: Empty?
(Removes a sachet from the slot)
IAN: All right.
(He puts some of the water on his handkerchief and goes back to Susan. She is sitting up and holding a pair of scissors)
IAN: What are you doing?
SUSAN: No. Who are you?
IAN: Susan. You don't need that.
(He reaches for the knife, and she stabs at him, then, groaning in pain, repeatedly stabs the recliner instead before collapsing again)
(The Doctor is sitting on a bench by the wall, and the scissors are on a table)
DOCTOR: No, no, the ship must have stopped and put us down somewhere.
BARBARA: But where? Where are we?
DOCTOR: Oh, all these questions, Miss Wright. Please.
BARBARA: You don't know, do you? You're just guessing, aren't you?

[Tardis]

(Barbara goes back into the console room)
BARBARA: Can we have some light in here?
DOCTOR [OC]: What for?

[Room]

IAN: Have you any idea where we are, Doctor?
DOCTOR: Where is not as important as why, young man. I must go and check the fault locator again.
IAN: Everything's in a mess.
DOCTOR: You didn't touch the controls, did you?
IAN: No.

[Tardis]

DOCTOR: Or you?
(Barbara glares at him and goes into the room)
DOCTOR: I know Susan wouldn't. I'm worried about that child. Temporary lapse of memory.

[Room]

BARBARA: I was thinking.
IAN: Yes?
DOCTOR: Well, yes, yes, anything may help.
BARBARA: Do you think something could have got into the ship?
DOCTOR: No, no, no.
BARBARA: When the doors were open?
DOCTOR: No, it's ridiculous.
IAN: What do you mean? An animal, or a man or something?
BARBARA: Yes.
DOCTOR: It's not very logical, is it?
BARBARA: Or another intelligence.
DOCTOR: Well, as I said, it's not very logical.
BARBARA: No, it isn't. But does it have to be? I mean, things aren't always very logical, are they? It's just that one's been through so much, I've
DOCTOR: I've been very patient with you, Miss Wright, and really, there's no more time for these absurd theories.
IAN: Probably a mechanical fault.
DOCTOR: Yes, or electric.

[Tardis]

DOCTOR: It may even be the main unit. I don't know. I'm very worried about it all. Young man, I think you'll have to help me with that fault locator now that Susan's been put out of action.
IAN: Yes, yes, of course I will.
DOCTOR: Thank you. It won't take us long.
IAN: I wouldn't go near the control column if I were you, Doctor. It might give you an electric shock.
DOCTOR: Yes, well, perhaps it would be wiser to check the fault locator first. I'm glad I thought of that. Yes, come along. Come along.
IAN: Barbara.
BARBARA: Keep an eye on Susan?
IAN: Yes. Don't tell her about something being in the ship.
(Susan overhears this conversation while sneaking out to get the scissors)
BARBARA: No, of course not.
IAN: You know, the less said, the better, eh?
DOCTOR [OC]: Chesterton!
IAN: Coming. Coming.
(At the fault locator panel, the Doctor is leaning against the wall)
IAN: Are you all right?
DOCTOR: Oh yes, these numbers keep blurring before my eyes, that's all.
IAN: What can I do to help?
DOCTOR: Well if you wouldn't mind standing in front of that indicator and what you will see will be a series of numbers.

[Room]

BARBARA: You're awake now. How are you feeling? Susan? You do remember who I am, don't you?
SUSAN: Of course I do. You're Barbara.
(Barbara puts a fresh moist towel on her forehead)
SUSAN: Why?
BARBARA: Hmm?
SUSAN: There's nothing wrong with me.
BARBARA: No, you're, you just need a rest, that's all.
SUSAN: Where's Grandfather?
BARBARA: He's checking the controls with Ian.
SUSAN: Have they found out what's wrong with the ship?
BARBARA: Ian thinks there was a power failure.
SUSAN: Why did you ask me if I knew who you were?
BARBARA: Susan, why don't you give me those scissors? Give them to me. Susan, what's all this about?
SUSAN: You said there'd been a power failure.
BARBARA: No, I didn't. I said that's what Ian thinks.
SUSAN: I overheard the two of you. There's something here in the ship and he doesn't want you to tell me.
BARBARA: I see. You just overheard a couple of words and you
SUSAN: No! You lied to me.
BARBARA: We wouldn't hurt you, Susan. Surely you know that?
(Susan threatens Barbara, but when she stretches out her arm, Barbara manages to get the scissors away from her)
SUSAN: I never noticed the shadows before. It's so silent in the ship.
BARBARA: Yes. Or we're imagining things. We must be. I mean, how would anything get into the ship, anyway?
SUSAN: The doors were open.
BARBARA: Yes, but, but where would it hide?
SUSAN: In one of us.
BARBARA: No. No. We must stop talking about this. I mean, can you imagine what the others would say if we told them? They'd simply laugh at us.
SUSAN: Supposing there isn't a fault.
IAN: You must be clairvoyant. We've just checked everything and it's all perfect. Which is fantastic. How are you feeling?
SUSAN: I'm all right.
IAN: Good.
SUSAN: What's my grandfather doing?
IAN: That's what I came to tell you both. He's decided that the only fault can be outside the ship. He's gone to turn on the scanner.
SUSAN: No! No, he mustn't!
(She dashes into the console room)

[Tardis]

SUSAN: Don't touch!
DOCTOR: Hmm? Are you all right, child?
SUSAN: Yes. Grandfather, I tried to touch it, and it was like being hit, but without any pain.
DOCTOR: Hit where?
SUSAN: Well, the back of my neck hurt.
DOCTOR: Yes, rather like mine.
IAN: Funny, it didn't affect Barbara and me like that.
DOCTOR: No, it didn't, did it? I must find out what's outside the ship, Susan. Stand close beside me, will you?
(He reaches forward carefully and flicks a switch)
SUSAN: Nothing happened to you.
DOCTOR: No, indeed.
BARBARA: Why does he keep looking at us like that?
SUSAN: Hey, the scanner's working.
(A pastoral scene and the sound of birds)
BARBARA: That could be England.
SUSAN: Oh, yes, I remember that.
DOCTOR: That's very curious. That can't be what's outside the ship. This is a photograph.
(The main doors open and a brilliant light bursts in, with a roaring sound)
DOCTOR: Close the door, Susan!
IAN: I'll do it.
(The door closes)
IAN: Well I didn't touch it.
BARBARA: There's another picture.
SUSAN: Oh, I recognise that. That's where we nearly lost the Tardis, four or five journey's back.
DOCTOR: Yes, the planet Quinnis, of the fourth universe.
SUSAN: That's not outside either. That's a photograph.
IAN: Can you explain it?
DOCTOR: Did I ever tell you that the ship has a memory bank, hmm?
(He sits in the chair)
SUSAN: Yes, it records our journeys.
IAN: No, I don't think so.
DOCTOR: Are you sure? I thought I did.
SUSAN: Hey, look.
(A cratered planetoid, a sea of stars, and a flash of light then blank)
IAN: Well, what's all that about?
DOCTOR: Oh, don't you know? I thought you might be able to explain it.
IAN: Why me?
DOCTOR: Trying to confuse me, eh?
IAN: What are you getting at?
BARBARA: Look, why don't we just try and open the doors and see for ourselves what's outside?
DOCTOR: What is inside, madam, is most important at the moment.
(they are now lined up across the console - Doctor and Susan versus Barbara and Ian)
BARBARA: Inside?
IAN: But you've just been telling us that the only people inside are ourselves.
DOCTOR: Precisely. I know now who's responsible. You are. You sabotaged my ship.
BARBARA: We didn't even touch your ship.
IAN: (overlapping) What are you talking about?
DOCTOR: You're the cause of this disaster. And you knocked both Susan and I unconscious.
BARBARA: Don't be ridiculous. We were all knocked out.
DOCTOR: A charade. You attacked us.
IAN: Absolute nonsense.
DOCTOR: And when we were lying helpless on the floor, you tampered with my controls.
IAN: But you checked everything yourself and you couldn't find anything wrong with it.
DOCTOR: No, sir. We checked everything. You and I.
BARBARA: But why would we? For what reason?
DOCTOR: Blackmail, that's why. You tried to force me to return you to England.
BARBARA: Oh, don't be so stupid.
DOCTOR: I know it. I'm sure of it.
BARBARA: How dare you! Do you realise, you stupid old man, that you'd have died in the Cave of Skulls if Ian hadn't made fire for you?
DOCTOR: Oh, I
BARBARA: And what about what we went through against the Daleks? Not just for us, but for you and Susan too. And all because you tricked us into going down to the city.
DOCTOR: But I, I
BARBARA: Accuse us? You ought to go down on your hands and knees and thank us. But gratitude's the last thing you'll ever have, or any sort of common sense either.
(Barbara walks away, then clutches her head and screams. There is a curious clockwork device on a plinth. Barbara rips off her own watch and throws it across the room, then collapses into the chair, sobbing. Ian and Susan look at their own watches)
IAN: You can't blame us for this, Doctor. Where is he?
(The Doctor re-enters with four cups on a tray)
DOCTOR: I've decided we need more time to think. We're all somewhat overwrought. Mister Chesterton. (offers the cups around) Miss Wright. Susan.
IAN: I wish I could understand you, Doctor. One moment you're abusing us, and the next, you're playing the perfect butler.
DOCTOR: A little nightcap to help us relax and sleep.
IAN: If it is night. We have no way of telling now.
BARBARA: I'm going to bed.
(Barbara leaves)
SUSAN: Make it up with her, Grandfather. Please do.
(Susan leaves)
IAN: Doctor, some very strange things are happening. I feel we're in a very dangerous position. This is no time for personal quarrels.
DOCTOR: Meaning?
IAN: I think you should go and apologise to Barbara at once.
DOCTOR: I'm afraid we have no time for codes and manners. And I certainly don't underestimate the dangers, if they exist. But I must have time to think. I must think. Rash action is worse than no action at all, hmm?
IAN: I don't see anything rash in apologising to Barbara.

[Room]

IAN: Frankly, Doctor, I find it hard to keep pace with you.
DOCTOR: You mean, to keep one jump ahead. That you will never be. You need my knowledge and ability to apply it, and then you need my experience to gain the fullest results.
IAN: Results? For good or for evil?
DOCTOR: One man's law is another man's crime. Sleep on it, Chesterton. Sleep on it.
(Barbara has pulled down a second curved bed. Susan goes over to her)
SUSAN: I'm sorry for what Grandfather said to you.
BARBARA: It wasn't your fault.
SUSAN: I know, but, try and understand him. Forgive him.
BARBARA: Try and get some sleep.
(later, the Doctor checks they are all asleep, then goes into the console room, chuckling to himself. He is looking over the controls when someone grabs him around the throat!)

Episode Two - The Brink of Disaster

[Tardis]

(The attacker is a staring-eyed Ian. The Doctor throws him off easily and he falls to the floor with a cry. Barbara comes out of the room too.)
DOCTOR: So, it was you?
BARBARA: Ian!
DOCTOR: It's no use pretending.
BARBARA: Well, help him.
DOCTOR: Help him? You saw him. You saw what he tried to do.
BARBARA: But now he's fainted just like Susan did.
DOCTOR: Susan didn't faint. It was you that told me she fainted and I very nearly believed you.
BARBARA: Oh, what does it matter?
DOCTOR: Matter? Matter, young lady? He very nearly tried to strangle me.
BARBARA: But he has fainted. Look at him.
DOCTOR: Oh, he's play-acting.
BARBARA: No, he isn't. Oh, Doctor, don't you see? Something terrible's happening to all of us.
DOCTOR: Not to me. Nothing's happened to me. This is a plot between the two of you to get control of my ship.
BARBARA: Oh, that isn't true.
DOCTOR: Can't you see I've found you out? Why won't you admit it, hmm?
SUSAN: Yes. Why don't you?
BARBARA: Susan!
SUSAN: You've been behaving very strangely. Both of you.
BARBARA: But.
SUSAN: I think you're right, Grandfather.
BARBARA: But you're wrong. I swear we haven't done anything.
DOCTOR: I told you i'd treat you as enemies.
SUSAN: No!
DOCTOR: There's no other way.
BARBARA: Well what are you going to do?
DOCTOR: That is my business.
BARBARA: Ian, wake up. For heaven's sake, wake up, Ian. Ian, Ian, help me.
IAN: I, I, I
DOCTOR: There's no alternative. Your little trick endangered our lives.
SUSAN: How did he get like this?
DOCTOR: Oh, it's all a charade.
BARBARA: He went near the control panel.
SUSAN: It did happen to me, Grandfather.
BARBARA: Yes, you remember. You lost your memory. And there was this terrible pain at the back of your neck.
SUSAN: Yes. Yes, that's true.
BARBARA: What do you think we've done? Hypnotised you? Drugged you? Susan, we wouldn't do anything like that. Believe me.
DOCTOR: I see. Divide and conquer, eh? She's trying to poison your mind against me.
IAN: (suddenly sitting up) Don't touch it, Doctor! (and falling back again)
SUSAN: I do believe you. Grandfather, they couldn't have done all the things that happened.
DOCTOR: Oh, yes, I admit they were very smart.
SUSAN: No, it's not a question of being smart.
DOCTOR: Don't you see I wouldn't allow them to hurt you, child? They're very resourceful and cunning, and it only leaves me one recourse. They must be put off the ship.
SUSAN: No! You can't do that!
DOCTOR: I can and I must.
BARBARA: But you can't open the doors.
DOCTOR: Don't underestimate my powers, young lady.
SUSAN: Look, Grandfather. You've no means of telling what's out there. There may be no air, it may be freezing, it may be too hot to exist.
DOCTOR: Yes, or it might be the Earth in the twentieth century. Hadn't it occurred to you? My ship is very valuable, remember?
BARBARA: Why are you so suspicious of us?
DOCTOR: Put yourself in my place, young lady, and you'd do precisely the same thing, wouldn't you? Hmm?
IAN: What are you two saying to each other?
DOCTOR: You're getting off the ship, Chesterton.
IAN: Now?
DOCTOR: Yes. Now. Get up.
IAN: You'll have to help me, Barbara.
BARBARA: Yes.
IAN: You'll have to help me, Barbara.
BARBARA: Yes.
IAN: I'll be all right when I get outside.
SUSAN: Oh, Grandfather. He doesn't know what's happening. I won't let you do this.
DOCTOR: If, of course, they'd like to confess to me what they have done to my ship, I may even change my mind.
(A klaxon alarm sounds)
BARBARA: What, what was that?
SUSAN: The danger signal.
DOCTOR: The fault locator! The whole of it!
IAN: Oh, don't touch it, Doctor.
BARBARA: It's all right.
IAN: No. No, you'll get knocked out.
BARBARA: It's all right, Ian.
SUSAN: Grandfather, tell me.
BARBARA: It's all right.
DOCTOR: The whole area of the fault locator has just given us a warning.
SUSAN: But everything can't be. Everything can't be wrong!
DOCTOR: That's what it means, child.
(Ian grabs the back of Barbara's neck)
BARBARA: No! Ian! Ian, it's all right. It's, it's all right. It's all right.
IAN: I pulled you away. The controls are alive. (passes out)
DOCTOR: No, you mustn't be frightened of me. Not now, please. I can't explain, but I've just realised the danger we're in.
SUSAN: It went off again, Grandfather.
DOCTOR: Hurry. Look. We must pull him round. You see that panel up there? You've heard me refer to it? The fault locator?
BARBARA: Yes.
DOCTOR: If one small piece of apparatus fails, a little bulb illuminates and tells me precisely where the fault is. Can you imagine what would happen if the whole of it lights up? Hmm? It means that the ship is on the point of disintegration. You're not to blame. All four of us are to blame!
IAN: Oh, you're all right. That drink you gave us.
DOCTOR: Oh, a mere harmless sleeping drug.
IAN: I thought so.
DOCTOR: Yes, you rather suspected I was up to some mischief.
IAN: Yes. And I told you not to go near the control column. I told you you'll electrocute yourself.
DOCTOR: I'm afraid I must have misjudged you both.
SUSAN: Fifteen seconds. It's happening every fifteen seconds.
BARBARA: But all the clock are
SUSAN: I counted.
DOCTOR: Well please go on counting. Now both of you listen. Can you concentrate?
IAN: Yes, I think I'm all right.
DOCTOR: We're on the brink of destruction, so all four of us must work closely together. We must find out where we are and what is happening to my ship.
IAN: Just a moment. Why did you say that, the brink of destruction?
DOCTOR: There's a strong force at work somewhere, which is threatening my ship. It's so strong that every piece of equipment can be out of action at the same time.
IAN: What? Total disintegration?
DOCTOR: Precisely. We haven't crash-landed, otherwise I would have discovered that immediately. And I don't believe there's an evil intelligence in the ship. Just at the same token, I don't really believe that you, either of you, have been the cause of this trouble.
IAN: Well, what is, then?
DOCTOR: I don't know, but we must find out.
IAN: Yes, but how long have we got?
SUSAN: It's definitely every quarter of a minute.
IAN: Well what does that prove?
BARBARA: That we have a measure of time as long as it lasts. Yes, of course. That explains the clock face. We had time taken away from us, and now it's being given back to us because it's running out.
(The ship shakes)
SUSAN: The column.
(goes up and down once, with no sound)
DOCTOR: But, it's impossible.
IAN: Doctor, I thought it only moved when the power was on.
DOCTOR: Yes. The heart of the machine is under the column.
IAN: Well what made it move?
DOCTOR: The source of power. You see, when the column rises, it proves the extent of the power thrust.
BARBARA: Then what would have happened if the column had come out completely?
SUSAN: Well, the power would be free to escape.
DOCTOR: Can it be possible then, that this is the end?
IAN: The end? What are you talking about?
DOCTOR: We have ten minutes to survive.
BARBARA: Ten minutes? As little as that?
DOCTOR: Maybe less.
IAN: Be careful, Doctor.
DOCTOR: Oh, it's quite safe here. This is where I stood when I tried the scanner switch.
BARBARA: Yes. Yes. Why is that part safe?
SUSAN: We'll never stop it in time!
BARBARA: Don't, Susan. Please don't.
DOCTOR: I don't know even where to begin, Chesterton. If only I had a clue.
BARBARA: I think. I think, perhaps, we've been given nothing else but clues.
IAN: Have we? Like the food machine, you mean.
BARBARA: Yes.
IAN: It registered empty, but it wasn't.
BARBARA: But the clock is the most important. It made us aware of time.
SUSAN: By taking time away from us.
BARBARA: Yes. And it replaced time by the light on the fault locator.
IAN: Yes, it did.
DOCTOR: It? It? What do you mean? My machine can't think.
BARBARA: You say it has a built-in defence mechanism?
DOCTOR: Yes, it has.
BARBARA: Well that's where we've been wrong. Originally, the machine wasn't at fault, we were. And it's been trying to tell us so ever since.
IAN: A machine that can think for itself?
BARBARA: Yes.
IAN: Is that feasible, Doctor?
DOCTOR: Oh, think not as you or I do, but it must be able to think as a machine. You see, it has a bank of computers.
BARBARA: You say the power is under this column?
DOCTOR: Yes.
BARBARA: And the column holds it down.
DOCTOR: Yes.
BARBARA: Well, then, what would make it want to escape?
DOCTOR: I've been racking my brains. I don't know.
IAN: Something outside?
DOCTOR: Yes, possible.
IAN: A magnetic force?
DOCTOR: Well, it would have to be a gigantic one. A one as strong as a solar system.
(Another bang and shake)
BARBARA: You see? The machine's been warning us all along. All those blackouts we had.
SUSAN: Yes. But only if anybody went near the control column.
BARBARA: Yes.
IAN: But it could be the power escaping.
DOCTOR: No, no, it couldn't. If you felt the power, dear boy, you wouldn't live to speak of it. You'd be blown to atoms in a split second.
SUSAN: Besides, it's the part of it that's safe.
BARBARA: Yes. The scanner. I wonder.
DOCTOR: We'll try it, but we're clutching at straws. Come.
(Another bang and shake)
DOCTOR: Now, Susan, and you, young lady, should those doors open again, I want you to be standing by them, and tell me whatever it is you see outside, understand?
(Susan and Barbara go to the door, the Doctor beckons Ian to him)
DOCTOR: I lied, deliberately, so that they won't know.
IAN: Won't know what?
DOCTOR: We have five minutes only. When the end does come, they won't know anything about it.
IAN: There's no hope, then.
DOCTOR: I can't see any. Will you face it with me?
SUSAN: What are you two talking about?
IAN: Oh, just a theory of mine that didn't work.
DOCTOR: Yes, we must solve this problem, you know. We must.
(The countryside picture is back on the scanner. The doors open onto a dazzling light)
SUSAN: There's nothing there. Nothing. Nothing. Nothing but space.
BARBARA: It's all right, Susan.
(The scanner shows a jungle)
IAN: Barbara could be right, Doctor.
BARBARA: I am right. I know I am. Whenever there's a good picture, the doors open because it's safe for us to go outside. And then it shows us a terrible picture and the doors close again.
DOCTOR: Yes, then we have the sequence. A planet, a planet in the solar system, getting further away. Blinding flash. Destruction. Yes, of course. It's our journey.
BARBARA: And the ship refused to destroy itself.
DOCTOR: Yes. Yes!
BARBARA: The defence mechanism stopped the ship, and it's been trying to tell us so ever since!
DOCTOR: Of course. Of course!
(Another big shake, and the lights dim)
DOCTOR: I know. I know. I said it would take the force of a total solar system to attract the power away from my ship. We're at the very beginning, the new start of a solar system. Outside, the atoms are rushing towards each other. Fusing, coagulating, until minute little collections of matter are created. And so the process goes on, and on until dust is formed. Dust then becomes solid entity. A new birth, of a sun and its planets.
IAN: But, Doctor, where are we? When we left the planet Skaro, where did you ask the machine to take us to? Think, Doctor!
DOCTOR: I, er, had hoped to reach your planet Earth. Skaro was in the future and I used the fast return switch.
IAN: The fast return switch? You've sent us back too far. Doctor, show me. Show me that switch. Where is it?
DOCTOR: Well, I can't very well see it without a light, can I?
SUSAN: It's near the scanner switch.
BARBARA: Really? But that's the part of the control that's safe.
SUSAN: Yes.
DOCTOR: Strange.
IAN: Doctor, we haven't got very much time left.
DOCTOR: Yes, I see. Here it is. (pulls a small torch from his pocket) Here, you see? Now, look, there's the switch. You see?
IAN: Yes, well how does it work?
DOCTOR: Well, you merely press it down, and. It's stuck. It hasn't released itself!
IAN: What? You mean it's been on all this time?
DOCTOR: Yes, it must have been.
IAN: Well, come on, Doctor. Let's get it unstuck.
DOCTOR: Hold that. Yes, just a minute now. Yes, there you are, you see?
IAN: What's wrong?
DOCTOR: The spring's not connecting. It's come off the base.
IAN: Hurry, Doctor, hurry.
DOCTOR: There we are. Take it out. Now, luckily we can turn it over and now it should work. There. Ah, that's all right.
(The lights come back and the Tardis returns to normal)
SUSAN: We're safe now.
BARBARA: Are you sure?
DOCTOR: Yes, we can all relax. We're quite safe now. But it was a narrow squeak.
SUSAN: Grandfather?
DOCTOR: Yes, my child?
SUSAN: What happened?
DOCTOR: What happened? It was the switch. It was still in place. You see, there's a little spring inside it and it was stuck. It hadn't released itself.
SUSAN: But why didn't the fault locator tell us?
DOCTOR: Well, the switch hadn't broken down, therefore the fault locator couldn't give us any recognition. You see, let me give you a demonstration. (using his torch) Now, look, when I put my thumb on there, the light comes on. And it only stays on so long as my thumb is pressing that switch. As soon as I take if off, a little spring inside releases the switch here and out goes the light.
SUSAN: Oh, I see. So if the spring were broken, it would be as if your finger were pressing it down all the time.
DOCTOR: Precisely. As simple as that. You know, my dear child, I think your old grandfather is going a tiny little bit around the bend. Well, I think you were very brave and I was proud of you.
SUSAN: Grandfather? What about them? You said some terrible things to them. When I thought he was going to attack you, even I was against him.
DOCTOR: Yes, I, I, er, well
IAN: Don't bother to say anything, Doctor. You know there are times when I can read every thought on your face.
DOCTOR: Really? And I always thought that you were a young man without any recrimination in you. Well, as for you, young lady, well, you were absolutely right. It was your instinct and intuition against my logic, and you succeeded. I mean, the blackouts, and the still pictures and the clock. Well, you read a story into all these things and were determined to hold on to it. We all owe you our lives.
BARBARA: I, I
(Barbara leaves)
DOCTOR: You know, I really believe I have underestimated that young lady in the past, Chartow. Well now, we can all start again, eh? Yes, we can. Yes. But which? Hmm? What are you laughing at, dear boy? Oh, really, you are
(The Doctor mumbles to himself and starts the Tardis off on another journey)

[Room]

(Much later. Barbara is in day clothes and still sulking)
DOCTOR: I'd like to talk to you, if I may. We've landed on a planet and the air is good, but it's rather cold outside.
BARBARA: Susan told me.
DOCTOR: Yes, you haven't forgiven me, have you.
BARBARA: You said terrible things to us.
DOCTOR: Yes, I suppose it's the injustice that's upsetting you, and when I made a threat to put you off the ship it must have affected you very deeply.
BARBARA: What do you care what I think or feel?
DOCTOR: As we learn about each other, so we learn about ourselves.
BARBARA: Perhaps.
DOCTOR: Oh, yes. Because I accused you unjustly, you were determined to prove me wrong. So, you put your mind to the problem and, luckily, you solved it.
SUSAN: Grandfather, we're going out now.
DOCTOR: Oh, please, yes. Do open the doors, will you?
SUSAN: Are you coming?
BARBARA: Yes.
SUSAN: Good.
DOCTOR: Oh, by the way, Susan has left you some wearing apparel for outside. You know, we have a very extensive wardrobe here.
BARBARA: Yes, she gave me these.
DOCTOR: Yes, I think they're rather charming. We must look after you, you know. You're very valuable. Yes.
(He helps her on with the coat, and offers his arm)
DOCTOR: Shall we go?

[Tardis]

(Ian has donned an Ulster coat, and Susan is in boots and jacket)
DOCTOR: Oh, good taste.
IAN: Hello.
BARBARA: Very chic.
SUSAN: Look, snow!
(And throws some at them. Barbara chases after her)
DOCTOR: Well, I think that's absolutely splendid, Chesterton. Yes, it suits you.
IAN: Yes.
DOCTOR: Always a trifle too big for me. You know, I acquired that ulster from Gilbert and Sullivan.
IAN: Oh, really? I thought it was made for two. Well, shall we join the ladies, Doctor?
DOCTOR: Yes, why not.
SUSAN [on scanner]: Grandfather, look.

[Snowfield]

SUSAN: Look at this huge footprint. It must have been made by a giant.

Next episode - The Roof Of The World

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