Strange Footprints

 

The Evil Cornucopia

 

Walking Dead

 

CFZ On the Track Holsworthy Extra Witnesses account of crow behaviour

 I watched the crows the other day take a plastic house which had peanut high energy food off the branch I placed it on it had a thick chain on it and throw it on the floor I presumed this was out of frustration but when I examined it the next day the container was upright and all the contents nearly gone.

The sound of silence

 

The journey had begun to reach the ultimate goal of creating a new colony on the planet Mars in the year 2080 ,it was once only a pipedream by due to setting up a successful base on the moon we as man can finally have our star Trek moment and reach our new frontiers.
But the only downside is the journey which will take over a year so we have to take in turns to make sure everything is shipshape.
I personally hate the fact of peering in the darkness and treating it like an old friend.
I often  find myself talking  to the darkness each time I am on my shift again and again on a endless loop.

When it's my time in the sleep chamber I ķeep getting the same vision softly creeping like its try to plant a seed  in my brain.
I still go to my shift but the vision still remains in my sub consciousness and all I hear  in the control deck is the sound of silence.

In my now restless dreams I am walking down a narrow corridor made of cobblestone under a strange halo light then  my eyes are stabbed by a the brightest of flash of neon lights .
This makes me feel split between the reality of sound of silence from outer space.

I awkwardly awake in that faze between sleep and being fully awake suddenly I as I look out of the window screen I see ten thousand grey like figures, no voice s speaking, seemingly hearing without no visible ears to use the power of listening.

Then in my head I heard voices shared  to my brain via the power of the creature s minds.
I was disturbed when my sound of silence was broken by thier words.
"Fools you do not know that to us you are like your earth s cancer, hear our words we are reaching out to go ,go back to your planet we do not wish your footprints destroying our way of life"

Then they  bowed and closed thier hands like if in prayer as if too some neon God.

Then it was gone I still felt the flashing sign and words forming as I wondered around the sleeping chamber s of my fellow travellers.
I spoke my final words.
"Prohets have written on the subway walls in the tenement halls we are not meant to go beyond our planet earth "
With that I placed myself back in my sleeping pod not awaking my next colleague for thier shift as I had entered the code for self destruction.
Then all that whispered in space was the sound of silence.

Excuses

 

Excuse of the year Covid is all I hear ,time for no more excuses, live life not fear.

Coffee time (2)

 The land had a sense of portending  evil which made the people animated and clamour  for some escapism. 

This  their found by watching a liza mannequin movie even those of thier on race suffered segration. 

I sat in my car looking in the drivers compartment as a keen enthusiast of mineral in banana s.

I watched the guilty party gather at the club Fussure to practice yoga poses ,I snuck around towards the back door of the building, opened the fire door and released a common analgesic which changed all inside natural elevation forever. 

This was the plan made by my party to set up confrontional to get too thier enemy s leader Cupids lover who was sitting pretty ruling as from afar in some west Indian state  

Fibber , crooked were the wo use by the military vips when I was captured, they laughed at my gentlemanliness ,I called them hicks.

For while I await the hahangman's noose, I remember my venetian artist youth when I kept a young  cow as my muse.

Then out of the blue the hangman told me he was behind schedule  so instead of struggling at the end of a noose until I ran put of air or my neck broke I was heading to headland instead. 

My smile looked back at my executior from the wicker basket, he just picked it and throw in among the rest of the pile. 

OSCAR

Oscar

Sinster Oscar stuck into the drink,
Shouting about being imprisoned for killing his jazz lover,
Discrimination were people said was their business,
Oscar puts hus head ina barrel,
Wrestling with his responsibility,
He smiled how the media treated him as an excellent joke,
For all to see his horrid pain of misjudgement,
He told the court of the ammunition his jazz lover give set his life on fire,
He manages his spirit by wondering the country with his storytelling to any that wish to know,
Until one day it came too much,
He hung a noose and leapt to jump,
Down to hades his soul now resides living his sin through torment.

Dr who Unaired Pilot episode - An Unearthly Child

 The following is the frist episode of Dr Who which I have on my YouTube channel Mark Antony Raines (Ghostman) on as audio style format by sharing  this frist transcript of the Dr who series I Hooe you will enjoy. 

Unaired Pilot episode - An Unearthly Child

[Scrap Yard] (Night, a policeman is patrolling his beat past Foreman's Scrap Merchants at 76 Totter's Lane. Inside is an assortment of items, including a Police Telephone Box) [School] (The bell is ringing for end of classes) BARBARA: Wait in here please, Susan. I won't be long. [Laboratory] (A man is tidying up after the class) IAN: Oh? Not gone yet? BARBARA: Obviously not. IAN: Ask a silly question. BARBARA: Sorry. IAN: That's all right. I'll forgive you this time. BARBARA: Oh, I had a terrible day. I don't know what to make of it. IAN: Oh, what's the trouble? Can I help? BARBARA: Oh, it's one of the girls, Susan Foreman. IAN: Susan Foreman? She your problem too? BARBARA: Yes. IAN: You don't know what to make of her? BARBARA: No. IAN: How old is she, Barbara? BARBARA: Fifteen. IAN: Fifteen. She lets her knowledge out a bit at a time so as not to embarrass me. That's what I feel about her. She knows more science than I'll ever know. She's a genius. Is that what she's been doing with history? BARBARA: Something like that. IAN: And that's your problem, eh? Whether to hand over the class to her BARBARA: No, not quite. IAN: No? What? BARBARA: Ian, I must talk to someone about this, but I don't want to get the girl into trouble. And I know you're going to tell me I'm imagining things. IAN: No. BARBARA: Well, I told you how good she is at history. I had a talk with her and told her she ought to specialise. She seemed quite interested until I said I'd be willing to work with her at her home. Then she said that would be absolutely impossible as her grandfather didn't like strangers. IAN: He's a doctor, isn't he? That's a bit of a lame excuse. BARBARA: Well, I didn't take too much notice but then recently her homework's been so bad. IAN: Yes, I'll say. BARBARA: Well, finally I got so irritated with all her excuses I decided to see this grandfather of hers and tell him to take some interest in her. IAN: Did you indeed? And what's the old boy like? BARBARA: Well, that's just it. I got the address from the secretary, 76 Totter's Lane, and I went along there one evening. Oh Ian, do pay attention. IAN: Sorry. You went along there. BARBARA: There isn't anything there. It's just an old junkyard. IAN: You went to the wrong place. BARBARA: Well, that was the address the secretary gave me. IAN: The secretary got it wrong, then. BARBARA: No. I checked. There's a big wall on one side, houses on the other and nothing in the middle except this junkyard. And that is number 76 Totter's Lane. IAN: Hmm. That's a bit of a mystery. Well, there must be a simple answer. BARBARA: What? IAN: Well, we'll have to find out for ourselves, won't we? BARBARA: Thank you for the we. She's waiting in one of the classrooms. I'm lending her a book on the French Revolution. IAN: What's she going to do, rewrite it? Oh, all right. What do we do? Ask her point-blank? BARBARA: No, I thought we could drive there, wait till she arrives and see where she goes. IAN: All right. BARBARA: That is, if you're not doing anything. IAN: No, I'm not. After you. [Classroom] (Susan is listening to music on her transistor radio. She looks a little elfin, like Audrey Hepburn) BARBARA: Susan. SUSAN: Oh, I'm sorry, Miss Wright. I didn't hear you coming in. Aren't they fabulous? BARBARA: Who? SUSAN: It's John Smith and the Common Men. They've gone from nineteen to two in the hit parade. BARBARA: Not bad. IAN: John Smith is the stage name for the Honourable Aubrey Waites. He started his career as Chris Waites and the Carollers, didn't he, Susan? SUSAN: You are surprising, Mister Chesterton. I wouldn't expect you to know a thing like that. IAN: I have an enquiring mind. And a very sensitive ear. SUSAN: Oh, sorry. (turns the radio off) IAN: Thank you. SUSAN: Is that the book you're lending me, Miss Wright? BARBARA: Yes. SUSAN: Thank you. It will be interesting. I'll return it tomorrow. BARBARA: Oh, that's not necessary till you've finished it. SUSAN: I'll have finished it. IAN: Oh, where do you live, Susan? I'm giving Miss Wright a lift home, I've got room for one more. SUSAN: No thank you, Mister Chesterton. I rather like walking in the English fog. It's sort of mysterious. BARBARA: You say that as if IAN: Then we won't deprive you of that romantic pleasure. BARBARA: Well, hurry home, Susan. And be careful, the fog's getting thicker. We'll see you in the morning? SUSAN: I expect so. Good night. BARBARA: Good night. IAN: Good night, Susan. (They leave. Susan takes a piece of paper, drops paint onto it, folds it in half then draws a hexagon around it before starting up, guilty) [Totter's Lane] (Ian and Barbara are parked up) BARBARA: Over there, where the policeman is. IAN: The fog's cleared. We're lucky. BARBARA: She can't have got here yet. I suppose we are doing the right thing. IAN: You can't justify curiosity. BARBARA: But her homework? IAN: It's just an excuse, really. I've seen far worse. The truth is we're both curious about Susan and we won't be happy until we know some of the answers. BARBARA: You can't just pass it off like that. If I thought I was just being a busybody, I'd go straight home. I thought you agreed she was a bit of a mystery. IAN: Yes, well, I expect there's a very simple explanation to all this. BARBARA: Well, I don't know how you explain the fact that a fifteen year old girl does not know how many shillings there are in a pound. IAN: Really? BARBARA: Really. She said she thought we were on the decimal system. IAN: Decimal system? [flashback to classroom - the other pupils laughing] SUSAN: I'm sorry, Miss Wright. BARBARA: Don't be silly, Susan. The United States has a decimal system. You know perfectly well that SUSAN: Yes, of course, the decimal system hasn't started yet. [Back to the car] IAN: I suppose she couldn't be a foreigner? No, doesn't make sense. Nothing about this girl makes sense. For instance, the other day I was giving a talk about chemical changes, I'd given out the litmus paper to show cause and effect BARBARA: And she knew the answer before you'd started. IAN: Not quite. [Flashback to laboratory classroom] SUSAN: Yes, I can see red turns to blue, Mister Chesterton, but that's because we're dealing with two inactive chemicals. They only act in relation to each other. IAN: But that's the whole point of the experiment, Susan. SUSAN: Yes, it's a bit obvious, isn't it? Well, I'm not being rude, but couldn't we deal with two active chemicals and get on with something else? I'm sorry, it was just an idea. [Back to the car] IAN: She means it. These simple experiments are child's play to her. BARBARA: You know, it's almost got to the stage where I deliberately want to trip her up. IAN: Something like that happened a couple of weeks ago. I'd set the class a problem with A, B and C as the three dimensions. [Flashback to classroom] SUSAN: It's impossible unless you use D and E. IAN: D and E? Whatever for? Do the problem that's set, Susan. SUSAN: I can't, Mister Chesterton. You can't simply use three of them. IAN: Three of them? Oh, time being the fourth dimension, I suppose? And what do you want E for? What do you make the fifth dimension? SUSAN: Space. [Back to the car] BARBARA: Too many questions and not enough answers. IAN: Stupid or just doesn't know. So we have a fifteen year old girl who is absolutely brilliant at some things, excruciatingly bad at others and, well, just inexplicable at the rest. BARBARA: There she is. See her? (Susan is at the gates to the junk yard) IAN: She looks around like somebody who's afraid she's being watched. Or is my imagination working overtime? BARBARA: Look, can we go in now? I hate to think of her alone in that place. IAN: If she is alone. Look, she is fifteen. She might be meeting a boy. Did that occur to you? BARBARA: I almost hope she is. IAN: You do? BARBARA: Well, it would be so normal. Isn't it silly? I feel afraid. As if we're about to interfere in something that is best left alone. IAN: Come on, let's get it over with. (They get out of the car) BARBARA: Well, don't you feel it? IAN: I take things as they come. Come on. [Junk yard] (Ian has a small torch in his hand) IAN: What a mess. We're certainly not looking for her under all this. BARBARA: Over there? IAN: Ow. (he trips) I dropped it. BARBARA: What? IAN: The torch. BARBARA: Well, use a match. IAN: I haven't got one. Oh, never mind. BARBARA: Susan. IAN: Susan? Susan! Mister Chesterton and Miss Wright. She can't have got out without us hearing her. BARBARA: Ian, look at this. (She's found the police telephone box) IAN: It's a police box. What on earth's it doing here? They're always in the street. Feel it. Feel it. Do you feel it? BARBARA: It's a faint vibration. IAN: It's alive! (he walks around it) It's not connected to anything, unless it's through the floor. BARBARA: Look, I've had enough. Let's go and find a policeman. (A sound of coughing) BARBARA: What if it's her? IAN: No, wait. That's not here. Quick. (They hide as an old man in Astrakhan hat, and scarf enters the yard. He goes to the police box and turns the lock) SUSAN [OC]: Oh, there you are! BARBARA: It's Susan. IAN: Shush! (The old man opens the box door, and we hear pop music playing. Ian comes out from the hiding place) IAN: Excuse me. DOCTOR: What are you doing here? IAN: We're looking for a young girl. DOCTOR: We? BARBARA: Good evening. DOCTOR: What do you want? IAN: One of our pupils, Susan Foreman, came into this yard. DOCTOR: Really? In here? Are you sure? BARBARA: Yes, we saw her from across the street. DOCTOR: In this light? IAN: Quite clearly. DOCTOR: You were spying on her? Who are you? IAN: We heard a young girl's voice call out to you. DOCTOR: Impossible. BARBARA: It came from in there. DOCTOR: You must have imagined it. BARBARA: I certainly did not imagine it. DOCTOR: (leading him away from the box) Young man, is it reasonable to suppose that anybody would be inside a cupboard like that? IAN: Is it, therefore, unreasonable to ask you to let us have a look inside? DOCTOR: You have no right to be here. You're hiding and trespassing. I suggest you see this young child tomorrow instead of bothering me. BARBARA: But won't you help us? We're two of her teachers from the Coal Hill School. We saw her come in and we haven't seen her leave. Naturally, we're worried. DOCTOR: It is no business of mine. I suggest you leave here. IAN: Not until we're satisfied that Susan isn't in there. And I don't understand your attitude. DOCTOR: Yours leaves a lot to be desired. IAN: Will you open that door? DOCTOR: I will not. IAN: Why not? What are you afraid we'll find there? DOCTOR: Go away. IAN: Open the door! DOCTOR: I certainly will not. Pushing your way in here. IAN: Then I think we'd better find a policeman. DOCTOR: Very well. IAN: And you're coming with us. DOCTOR: Oh, am I? I think not. BARBARA: We can't force him. IAN: But we can't leave him here. Doesn't it seem obvious to you that he's got her locked up in there? Why, look at it, it's got no handles. There must be a hidden lock somewhere. BARBARA: That was Susan's voice. IAN: But of course it was. Susan! Susan! Susan, are you in there? It's Mister Chesterton and Miss Wright, Susan. DOCTOR: Don't you think you're being rather high-handed, young man? You thought you saw a young girl enter the yard. You imagine you heard music or her voice. You believe she might be inside there. Not very substantial, is it? BARBARA: But why won't you help us? DOCTOR: I'm not hindering you. You intrude here and start making accusations and implications. If you both want to make fools of yourselves, I suggest you do what you said you'd do. Go and fetch a policeman. IAN: While you nip off quietly in the other direction. DOCTOR: There, you see. More suspicions, more insults. I shall remain here. There's only one way in and out of this yard. I shall be here when you get back. I want to see your faces when you try to explain away your behaviour to a policeman. IAN: Nevertheless, we're going to get one. Come on, Barbara. SUSAN [OC]: What are you doing out there, Grandfather? DOCTOR: Go back inside and shut the door! Shut that door! IAN: Barbara! (Barbara goes inside the box as Ian and the Doctor struggle) DOCTOR: What are you doing, young man. Come back. [Tardis] (Barbara finds herself in a very big room, with chair, hat stand, various other pieces of furniture, and Susan standing at a six-sided console in the centre. She is dumb-founded. Ian follows, then the Doctor. The doors close) DOCTOR: These people are known to you, I believe? SUSAN: What are you doing here? They're two of my schoolteachers. DOCTOR: Is that your excuse for this unwarrantable intrusion? You had no right to invite them here. I blame you for this, Susan. You would insist on going to that ridiculous school. I warned you. SUSAN: But, Grandfather BARBARA: Is this really where you live, Susan? SUSAN: Yes. DOCTOR: And what is wrong with it? IAN: But it was just a box. DOCTOR: Perhaps. BARBARA: But it can't be. IAN: It was. You saw it. DOCTOR: You see, I knew this sort of thing would happen, you stupid child! BARBARA: Maybe we should leave now. IAN: Just a minute. Now that we are here, I'd just like to. I know this is absurd, but. But I walked all around it. DOCTOR: Don't expect any answers from me. You wouldn't understand anyway. IAN: But you saw me, Barbara. BARBARA: Yes. DOCTOR: You see. I warned you. You see what you've done? IAN: It's an illusion. It must be. SUSAN: You shouldn't have come here. IAN: This is a trick. DOCTOR: It is no trick, young man! You both forced your way into the ship. I did not invite you. I see no reason why I should explain anything. IAN: Ship? DOCTOR: I use your own outdated terminology for any craft which does not roll along on wheels. BARBARA: You mean it moves? SUSAN: The Tardis can go anywhere. BARBARA: Tardis? I don't know what you mean, Susan. SUSAN: I made up Tardis from the initials, Time and Relative Dimension In Space. Well, I thought you'd both realise when you came inside and saw the different dimensions from outside. IAN: Just let me get this right. A thing that looks like a police box, stuck in a junkyard, can move anywhere in time and space? SUSAN: Yes! IAN: Oh, Susan, don't be ridiculous. DOCTOR: They'll never understand, my child. SUSAN: Why won't you believe us? BARBARA: We just want you to tell us the truth. DOCTOR: (Taking off his cloak and scarf) You have heard the truth. We are not of this race. We are not of this Earth. We are wanderers in the fourth dimensions of space and time, cut off from our own planet and our own people by aeons and universes that are far beyond the reach of your most advanced sciences. SUSAN: It's true. Every word of it's true. You don't know what you've done coming in here. Grandfather, let them go now. Don't you see they don't believe us? They can't do us any harm. I know these Earth people better than you. Their minds reject things they don't understand. DOCTOR: No. IAN: You can't keep us here. BARBARA: Susan, why do you insist upon lying to us? SUSAN: I'm not lying! I loved your school. I loved England in the twentieth century. The last five months have been the happiest of my life. BARBARA: But you are one of us. You look like us, you sound like us. SUSAN: I was born in the forty ninth century. IAN: What? Now, look, Susan. I've had enough of this. Come on, let's get out of here. SUSAN: You can't get out. (She's right. They can't open the door. The Doctor laughs) SUSAN: He won't let you go. IAN: You pushed something when we came in here. It was over here. (on the console) Now, which is it? Which is it? Which is the control that opens the door? DOCTOR: You still think this is a trick? IAN: I know that free movement in the fourth dimension of space and time is a scientific dream I didn't expect to find solved in a junkyard. DOCTOR: For your science, schoolmaster, not for ours. I tell you, before your ancestors turned the first wheel, the people of my world had reduced movement through the farthest reaches of space to a game for children. IAN: Unless you open that door and let me take Susan and Miss Wright out of here, I'll DOCTOR: Don't threaten me, young man. SUSAN: Grandfather, he doesn't understand. Let them go now. BARBARA: What if it is true? IAN: But it can't be, I tell you. Are you going to open that door? All right. I'll have to take a chance for myself. DOCTOR: Very well. I can't stop you. (He touches a button) SUSAN: Don't touch it! It's live! (Ian gets an electric shock) BARBARA: Ian, are you all right? What do you think you're doing? How dare you behave like this? SUSAN: Oh Grandfather, let them go now, please. BARBARA: But you must. You can't keep us here. SUSAN: Grandfather, let them go. We'll go somewhere else. Some other time. I won't object. I promise you I won't object. DOCTOR: My dear child, you know very well we cannot let them possess even one idea that such a ship as the Tardis might be possible. SUSAN: But Grandfather, don't you see? If we let them go now they can't DOCTOR: Look, see how they watch and listen as we talk. If they leave the ship now, they might come to believe at last all this is possible. Think what would have happened to the ancient Romans if they'd possessed the power of gunpowder. If Napoleon had been given the secret of the aeroplane. No, my child. We both know we cannot let our secret loose into the world of the twentieth century. SUSAN: But you can't keep them prisoners here! IAN: You can't keep us prisoners anywhere. DOCTOR: I cannot let you go, schoolteacher. Whether you believe what you have been told is of no importance. You and your companion would be footprints in a time where you were not supposed to have walked. IAN: If I have to use force to get out of here, I will, you know. BARBARA: Maybe we've stumbled on something beyond our understanding. DOCTOR: You see? The first faint glimmerings. SUSAN: Why did you come here? Why? Grandfather, no! (The Doctor is walking back to the console. Ian grabs him) IAN: No, you don't! SUSAN: Let him go! DOCTOR: Let me go! SUSAN: Stop it! DOCTOR: Let me go, I say! SUSAN: Stop it! (The Doctor breaks free and activates the console. The centre piece starts moving up and down. Sound and visual effects later, Ian and Barbara are out cold, while the Doctor and Susan are standing rigid. The police box is no longer in the junkyard, but in a desolate landscape. The shadow of a humanoid figure is seen on the ground).

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Star Trek The Original Series The Cage

This is from star Trek The Original Series which I do the transcript from on my YouTube channel _Mark Antony Raines (Ghostman) in audio video style which after I share this post you may check out. 

The Cage Unaired pilot [Bridge] SPOCK: Check the circuit. TYLER: All operating, sir. SPOCK: It can't be the screen then. Definitely something out there, Captain, headed this way. TYLER: It could be these meteorites. ONE: No, it's something else. There's still something out there. TYLER: It's coming at the speed of light, collision course. The meteorite beam has not deflected it, Captain. ONE: Evasive manoeuvres, sir? PIKE: Steady as we go. GARISON: It's a radio wave, sir. We're passing through an old-style distress signal. PIKE: They were keyed to cause interference and attract attention this way. GARISON: A ship in trouble making a forced landing, sir. That's it. No other message. TYLER: I have a fix. It comes from the Talos star group. ONE: We've no ships or Earth colonies that far out. SPOCK: Their call letters check with a survey expedition. SS Columbia. It disappeared in that region approximately eighteen years ago. TYLER: It would take that long for a radio beam to travel from there to here. SPOCK: Records show the Talos group has never been explored. Solar system similar to Earth, eleven planets. Number four seems to be Class M, oxygen atmosphere. ONE: Then they could still be alive, even after eighteen years. PIKE: If they survived the crash. SPOCK: We aren't going to go, to be certain? PIKE: Not without any indication of survivors, no. Continue to the Vega Colony and take care of our own sick and injured first. You have the helm. Maintain present course. ONE: Yes, sir. [Pike's quarters] BOYCE [OC}: Boyce here. PIKE: Drop by my cabin, Doctor. (Boyce enters with bag) What's that? I didn't say there's anything wrong with me. BOYCE: I understand we picked up a distress signal. PIKE: That's right. Unless we get anything more positive on it, it seems to me the condition of our own crew takes precedent. I'd like to log the ship's doctor's opinion, too. BOYCE: Oh, I concur with yours, definitely. PIKE: Good. I'm glad you do, because we're going to stop first at the Vega Colony and replace anybody who needs hospitalisation and also. What the devil are you putting in there, ice? BOYCE: Who wants a warm martini? PIKE: What makes you think I need one? BOYCE: Sometimes a man'll tell his bartender things he'll never tell his doctor. What's been on your mind, Chris, the fight on Rigel Seven? PIKE: Shouldn't it be? My own yeoman and two others dead, seven injured. BOYCE: Was there anything you personally could have done to prevent it? PIKE: Oh, I should have smelled trouble when I saw the swords and the armour. Instead of that, I let myself get trapped in that deserted fortress and attacked by one of their warriors. BOYCE: Chris, you set standards for yourself no one could meet. You treat everyone on board like a human being except yourself, and now you're tired and you PIKE: You bet I'm tired. You bet. I'm tired of being responsible for two hundred and three lives. I'm tired of deciding which mission is too risky and which isn't, and who's going on the landing party and who doesn't, and who lives and who dies. Boy, I've had it, Phil. BOYCE: To the point of finally taking my advice, a rest leave? PIKE: To the point of considering resigning. BOYCE: And do what? PIKE: Well, for one thing, go home. Nice little town with fifty miles of parkland around it. Remember I told you I had two horses, and we used to take some food and ride out all day. BOYCE: Ah, that sounds exciting. Ride out with a picnic lunch every day. PIKE: I said that's one place I might go. I might go into business on Regulus or on the Orion colony. BOYCE: You, an Orion trader, dealing in green animal women, slaves? PIKE: The point is this isn't the only life available. There's a whole galaxy of things to choose from. BOYCE: Not for you. A man either lives life as it happens to him, meets it head-on, and licks it, or he turns his back on it and starts to wither away. PIKE: Now you're beginning to talk like a doctor, bartender. BOYCE: Take your choice. We both get the same two kinds of customers. The living and the dying. SPOCK [on monitor]: Mister Spock here. We're intercepting a follow-up message, sir. There are crash survivors on Talos. [Bridge] GARISON: (reads) Eleven survivors from crash. Gravity and oxygen within limits. Food and water obtainable, but unless. The message faded at that point, sir. PIKE: Address intercraft. TYLER: System open. PIKE: This is the captain. Our destination is the Talos star group. Our time warp, factor seven. TYLER: Course computed and on the screen. ONE: All decks have acknowledged, sir. PIKE : Engage. TYLER: On course, sir. (Colt enters. Pike turns around and bumps into her) PIKE: Yeoman. COLT: Yes, sir. PIKE: I thought I told you that when I'm on the bridge COLT: But you wanted the reports by oh five hundred. It's oh five hundred now, sir. PIKE: Oh, I see. Thank you. ONE: She's replacing your former yeoman, sir. PIKE: She does a good job, all right. It's just that I can't get used to having a woman on the bridge. No offence, Lieutenant. You're different, of course. (The Enterprise arrives at a planet) TYLER: We've settled into orbit, sir. GEOLOGIST: Geological lab report complete, Captain. SPOCK: Preliminary lab survey ready, sir. PIKE: Spectography? GEOLOGIST: Our reading shows an oxygen nitrogen atmosphere, sir, heavy with inert elements but well within safety limits. PIKE: Gravity? GEOLOGIST: Zero point nine of Earth. TYLER: Captain? Reflections, sir, from the planet's surface. As I read it, they polarise out as rounded metal bits. Could be parts of a spaceship hull. PIKE: Prep a landing party of six. You feel up to it? SPOCK: Yes, sir. TYLER: Yes, sir. PIKE: Sorry, Number One. With little information on this planet, we'll have to leave the ship's most experienced officer here covering us. ONE: Of course, sir. [Transporter room] PIKE: There's no indication of problems down there, but let's not take chances. PITCAIRN: Yes, sir. There's a canyon to the left. We can set you there completely unobserved. [Planet surface] (the group explores until they find a rough settlement) GARISON: Sir. OLD MAN: They're men. They're humans. PIKE: Captain Christopher Pike, United Space Ship Enterprise. HASKINS: Doctor Theodore Haskins, American Continent lnstitute. SURVIVOR: Is Earth all right? PIKE: The same old Earth, and you'll see it very soon. TYLER: And you won't believe how fast you can get back. Well the time barrier's been broken. Our new ships can (He's struck dumb by the sight of a lovely young woman) HASKINS: This is Vina. Her parents are dead. She was born almost as we crashed. (The reunion is being watched on another screen, by three people with big bald heads) PIKE: (as the survivors pack up the settlement) Enterprise. ONE [OC]: Landing party, come in. PIKE: We'll begin transporting the survivors and their effects up to you very shortly. ONE [OC]: Quarters are being prepared, sir. Have I permission to send out scouting and scientific parties now? PIKE: That's affirmative on the VINA: You appear to be healthy and intelligent, Captain. A prime specimen. ONE [OC]: I didn't get that last message, Captain. PIKE: Er, affirmative on request. Landing party out. HASKINS: You must forgive her choice of words, Captain. She's lived her whole life with a collection of aging scientists. BOYCE: If they can spare you a moment, I'd like to make my medical report. VINA: I think it's time to show the Captain our secret. BOYCE: Their health is excellent. Almost too good. HASKINS: There's a reason for our condition, but we've had some doubt if Earth is ready to learn the secret. Let the girl show you. We'll accept your judgment. (Pike follows Vina up a slope to a ledge by a rock face) VINA: You're tired, but don't worry. You'll feel much better soon. Don't you see it? Here and here. PIKE: I don't understand. VINA: You will. You're a perfect choice. (Vina vanishes, and so do all the survivors and their encampment. A door opens in the rock face, Pike is knocked out and taken inside. At the settlement -) TYLER: Captain! (Everyone rushes over in time to see the door closing in the rock. They fire their phasers at it but it just blasts away the rock covering to show the metal underneath.) SPOCK: Spock here. ONE [OC]: Landing party, come in. SPOCK: There is no survivors' encampment, Number One. This is all some sort of trap. We've lost the Captain. Do you read? [Pike's cage] (Pike wakes to find himself in a cell with a transparent wall blocking his escape. He tests it's strength, and notices other similar occupied cells. There's a fanged ape, a giant bird and other scary shadows. The three aliens arrive) PIKE: Can you hear me? My name is Christopher Pike, commander of the space vehicle Enterprise from a stellar group at the other end of this galaxy. Our intentions are peaceful. Can you understand me? (the aliens communicate with their minds, not voices) TALOSIAN: It appears, Magistrate, that the intelligence of the specimen is shockingly limited. MAGISTRATE: This is no surprise since his vessel was baited here so easily with a simulated message. As you can read in its thoughts, it is only now beginning to suspect that the survivors and encampment were a simple illusion we placed in their minds. PIKE: You're not speaking, yet I can hear you. MAGISTRATE: You will note the confusion as it reads our thought transmissions. PIKE: All right then, telepathy. You can read my mind. I can read yours. Now, unless you want my ship to consider capturing me an unfriendly act MAGISTRATE: You now see the primitive fear threat reaction. The specimen is about to boast of his strength, the weaponry of his vessel, and so on. Next, frustrated into a need to display physical prowess, the creature will throw himself against the transparency. PIKE: If you were in here, wouldn't you test the strength of these walls, too? There's a way out of any cage, and I'll find it. MAGISTRATE: Despite its frustration, the creature appears more adaptable than our specimens from other planets. We can soon begin the experiment. [Briefing room] SPOCK: The inhabitants of this planet must live deep underground, and probably manufacture food and other needs down there. Our tests indicate the planet surface, without considerably more vegetation or some animals, simply too barren to support life. ONE: So we just thought we saw survivors there, Mister Spock. SPOCK: Exactly. An illusion placed in our minds by this planet's inhabitants. BOYCE: It was a perfect illusion. They had us seeing just what we wanted to see, human beings who'd survived with dignity and bravery, everything entirely logical, right down to the building of the camp, the tattered clothing, everything. Now let's be sure we understand the danger of this. The inhabitants of this planet can read our minds. They can create illusions out of a person's own thoughts, memories, and experiences, even out of a person's own desires. Illusions just as real and solid as this table top and just as impossible to ignore. ONE: Any estimate what they might want one of us for? SPOCK: They may simply be studying the Captain, to find out how Earth people are put together. Or it could be something more. TYLER: Then why aren't we doing anything? That entry may have stood up against hand lasers, but we can transmit the ship's power against it. Enough to blast half a continent. SPOCK: Look. Brains three times the size of ours. If we start buzzing about down there, we're liable to find their mental power is so great they could reach out and swat this ship as though it were a fly. TYLER: It's Captain Pike they've got. He needs help, and he probably needs it fast. ONE: Engineering deck will rig to transmit ship's power. We'll try blasting through that metal. [Talosian monitoring room] (As Pike continues to explore his cell) TALOSIAN: Thousands of us are already probing the creature's thoughts, Magistrate. We find excellent memory capacity. MAGISTRATE: I read most strongly a recent death struggle in which it fought to protect its life. We will begin with this, giving the specimen something more interesting to protect. [Rigel Seven] VINA: Come on, we must hide ourselves. Come, come. Hurry. It's deserted. There'll be weapons and perhaps food. PIKE: This is Rigel Seven. VINA: Please, we must hide ourselves. PIKE: I was in a cage, a cell, in some kind of a zoo. I must still be there. VINA: Come on. PIKE: They've reached into my mind and taken the memory of somewhere I've been. VINA: The killer! PIKE: It's starting just as it happened two weeks ago. Except for you. [Fortress] (The courtyard is scattered with lances and spears) PIKE: Longer hair, different dress, but it is you, the one the survivors called Vina. Or rather the image of Vina. But why you again? Why didn't they create a different girl? (The killer enters - a big humanoid with shield and axe) VINA: Quick. If you attack while it's not looking. PIKE: But it's only a dream. VINA: You have to kill him as you did here before. PIKE: You can tell my jailers I won't go along with it. I'm not an animal performing for its supper. VINA: It doesn't matter what you call this, you'll feel it. That's what matters. You'll feel every moment of whatever happens to you. Please, don't you know what he'll do to us? (so Pike fights the killer with mace and shield) PIKE: Why would an illusion be frightened? VINA: Because that's the way you imagined me. PIKE: Who are you? You act as if this were really you. VINA: Careful. (Pike and Vina retreat up some stairs. The killer breaks Pike's spear and they throw objects at it. Pike gets knocked down into the courtyard. The killer grabs Vina and Pike throws a spear into it's back. Then it jumps down and spears itself on a wicked harpoon that Pike grabs just in time) [Pike's cell] VINA: It's over. (Vina hugs her hero, then sees the Talosians watching them. The Talosians leave.) PIKE: Why are you here? VINA: To please you. PIKE: Are you real? VINA: As real as you wish. PIKE: No, no. No, that's not an answer. I've never met you before, never even imagined you. VINA: Perhaps they made me out of dreams you've forgotten. PIKE: What, and dress you in the same metal fabric they wear? VINA: I have to wear something, don't I? I can wear whatever you wish, be anything you wish. PIKE: So they can see how their specimen performs? They want to see how I react, is that it? VINA: Don't you have a dream, something you've always wanted very badly? PIKE: Or do they do more than just watch me? Do they feel with me, too? VINA: You can have whatever dream you want. I can become anything, any woman you've ever imagined. You can have anything you want in the whole universe. Let me please you. PIKE: Yes. Yes, you can please me. You can tell me about them. Is there any way I can keep them from probing my mind, from using my thoughts against me? Does that frighten you? Does that mean there is a way? VINA: You're a fool. PIKE: Since you're not real, there's not much point in continuing this conversation, is there. [Planet surface] (A big laser cannon is aimed at the door in the rock. ONE: All circuits engaged, Mister Spock. SPOCK [OC]: Standing by, Number One. ONE: Take cover. SPOCK [OC]: Ten, nine, eight, seven, six, five, four, three, two, one. (The laser cannon blasts away) ONE: Increase to full power! Can you give us any more? SPOCK [OC]: Our circuits are beginning to heat. We'll have to cease power. ONE: Disengage. The top of that knoll should have been sheared off the first second. BOYCE: Maybe it was. It's what I tried to explain in the briefing room. Their power of illusion is so great, we can't be sure of anything we do, anything we see. [Pike's cell] VINA: Perhaps if you asked me some questions, I could answer. PIKE: How far can they control my mind? VINA: If I tell you, then will you pick some dream you've had and let me live it with you? PIKE: Perhaps. VINA: They can't actually make you do anything you don't want to do. PIKE: But they try to trick me with their illusions. VINA: And, they can punish you when you're not co-operative. You'll find out about that. PIKE: Did they ever live on the surface of this planet? Why did they go underground? VINA: War, thousands of centuries ago. PIKE: That's why it's so barren up there? VINA; The planet's only now becoming able to support life again. PIKE: So the Talosians who came underground found life limited here and they concentrated on developing their mental power. VINA: But they found it's a trap. Like a narcotic. Because when dreams become more important than reality, you give up travel, building, creating. You even forget how to repair the machines left behind by your ancestors. You just sit, living and reliving other lives left behind in the thought record. PIKE: Or sit probing minds of zoo specimens like me. VINA: You're better than a theatre to them. They create the illusion for you, they watch you react, feel your emotions. They have a whole collection of specimens, descendants of life brought back long ago from all over this part of the galaxy. PIKE: Which means they had to have more than one of each animal. VINA: Please. PIKE: They'll need a pair of humans too. Where do they get intend to get the Earth woman? VINA: You said that if I answered questions PIKE: But that was a bargain with something that didn't exist. You said you weren't real, remember? VINA: I'm a woman as real and as human as you are. We're like Adam and Eve. If we. Don't. Please don't punish me! (disappears) (Pike sees the Magistrate walk away) (Pike continues to search the walls for a door when a hatch opens and a glass is placed on the floor) MAGISTRATE: The vial contains a nourishing protein complex. PIKE: Is the keeper actually communicating with one of his animals? MAGISTRATE: If the form and the colour is not appealing, it can appear as any food you wish to visualise. PIKE: And if I prefer MAGISTRATE: To starve? You overlook the unpleasant alternative of punishment. (Pike is surrounded by fire and brimstone, screaming in pain) MAGISTRATE: From a fable you once heard in childhood. You will now consume the nourishment. PIKE: Why not just put irresistible hunger in my mind? Because you can't, can you? You do have limitations, don't you? MAGISTRATE: If you continue to disobey, from deeper in your mind, there are things even more unpleasant. (Pike drinks the nourishment then launches himself at the glass wall. The Magistrate steps back in surprise) PIKE: That's very interesting. MAGISTRATE: Now to the female. PIKE: You were startled. Weren't you reading my mind then? MAGISTRATE: As you've conjectured, an Earth vessel did crash on our planet, but with only a single survivor. PIKE: No, let's stay on the first subject. All I wanted for that moment was to get my hands around your neck. MAGISTRATE: We repaired the survivor's injuries and found the species interesting. PIKE: Do primitive thoughts put up a block you can't read through? MAGISTRATE: It became necessary to attract a mate. PIKE: All right, all right, let's talk about the girl. You seem to be going out of your way to make her attractive, to make me feel protective. MAGISTRATE: This is necessary in order to perpetuate the species. PIKE: It seems more important to you now that I begin to accept her and like her. MAGISTRATE: We wish our specimens to be happy in their new life. PIKE: Assuming that's a lie, why would you want me attracted to her? So I'll feel love in a husband-wife relationship? That would be necessary only if you intend to build a family group or perhaps a whole human community. MAGISTRATE: With the female now properly conditioned. PIKE: You mean properly punished! I'm the one who's not co-operating! Why don't you punish me? MAGISTRATE: First, an emotion of protectiveness. Now one of sympathy. Excellent. [Woodland glade] (A picnic spread on a tartan rug, two horses standing by, a futuristic city in the distance) VINA: You want some coffee, dear? I left the thermos hooked to my saddle. PIKE: Tango! You old devil, you. I'm sorry I don't have any sugar. Well, they think of everything, don't they? (feeds lumps to the horse) VINA: Hey, your coffee. Is it good to be home? PIKE: They read our minds very well. Home, anything else I want, if I co-operate, is that it? VINA: Have you forgotten my headaches, darling? I get them when you talk strangely like this. PIKE: Look, I'm sorry they punish you, but we can't let them VINA: My, it turned out to be a lovely day, didn't it? PIKE: It's funny. It's about twenty four hours ago I was telling the ship's doctor how much I wanted something else not very different from what we have here. An escape from reality. Life with no frustrations. No responsibilities. Now that I have it, I understand the doctor's answer. VINA: I hope you're hungry. These little white sandwiches are your mother's recipe for chicken tuna. PIKE: You either live life, bruises, skinned knees and all, or you turn your back on it and start dying. The doctor's going to be happy about one part, at least. He said I needed a rest. VINA: This is a lovely place to rest. PIKE: I used to ride through here when I was a kid. It's not as pretty as some of the parkland around the big cities, but. That's Mojave. That's where I was born. VINA: Is that supposed to be news to your wife? You're home. You can even stay if you want. Wouldn't it be nice showing your children where you once played? PIKE: These headaches, they'll be hereditary you know. Would you wish them on a child or a whole group of children? VINA: Foolish. PIKE: Is it? Look, first they made me protect you and then feel sympathy for you. Now we have these familiar surroundings and a comfortable husband-wife relationship. They don't need all this for just passion. What they're after is respect and mutual dependence. VINA: They say in the olden days all this was a desert. Blowing sand and cactus. PIKE: But we're not here, neither of us. We're in a menagerie, a cage! VINA: No. PIKE; I can't help either one of us if you won't give me a chance. Now, you told me once they used illusions as a narcotic. They couldn't repair the machines left by their ancestors. Is that why they want us, to build a colony of slaves? VINA: Stop it. Don't you care what they'll do to us? PIKE: Back in my cage, it seemed for a couple of minutes that our keeper couldn't read my thoughts. Do emotions like hate, keeping hate in your mind, does that block off our mind from them? VINA: Yes. They can't read through primitive emotions. But you can't keep it up for long enough. I've tried. They keep at you and at you year after year, tricking and punishing, and they won. They own me. I know you must hate me for that. PIKE: Oh, no. I don't hate you. I can guess what it was like. VINA: But that's not enough. Don't you see? They read my thoughts, my feelings, my dreams of what would be a perfect man. That's why they picked you. I can't help but love you and they expect you to feel the same way. PIKE: If they can read my mind, then they know I'm attracted to you. [Talosian monitoring room] PIKE [on monitor]: I was from the very first moment I saw you in the survivor's camp. TALOSIAN: A curious species. They have fantasies they hide even from themselves. VINA [on monitor]: I'm beginning to see why none of this has worked for you. You've been home, and fighting as on Rigel. That's not new to you, either. A person's strongest dreams are about what he can't do. Yes, a ship's captain, always having to be so formal, so decent and honest and proper. You must wonder what it would be like to forget all that. [Open air party] (A band plays, and a green woman dances sensuously) OFFICER: Nice place you have here, Mister Pike. (The dancer is -) PIKE: Vina? ORION: Glistening green. Almost like secret dreams a bored ship captain might have. OFFICER: Funny how they are on this planet. They actually like being taken advantage of. Suppose you had all of space to choose from, and this was only one small sample. ORION: Wouldn't you say it was worth a man's soul? (Pike gets up and leaves. The door he walks through turns into a rock wall. Then Vina is there, holding a blazing torch) [Transporter room] SPOCK: We've located a magnetic field that seems to come from their underground generator. GARISON: Could that be an illusion too? ONE: Now, you all know the situation. We're hoping to transport down inside the Talosian community. SPOCK: If our measurements and readings are an illusion also, one could find oneself materialised inside solid rock. ONE: Nothing will be said if any volunteer wants to back out. (Pitcairn energises but only Number One and Yeoman Colt dematerialise) SPOCK: The women! [Pike's cage] ONE: Captain! Captain. VINA: No! Let me finish! ONE: But we were a party of six. COLT: We were the only ones transported. VINA: It's not fair. You don't need them. PIKE: (grabbing Colt's laser pistol) They don't work. ONE: They were fully charged when we left. It's dead. (communicator) I can't make a signal. What is it? PIKE: Don't say anything. I'm filling my mind with a picture of beating their huge, misshapen heads to pulp, thoughts so primitive they black out everything else. I'm filling my mind with hate. VINA: How long can you block your thoughts? A few minutes, an hour? How can that help? COLT: Leave him alone. VINA: He doesn't need you. He's already picked me. COLT: Picked her? For what? I don't understand. VINA: Now, there's a fine choice for intelligent offspring. COLT: Offspring, as in children? ONE: Offspring as in he's Adam. Is that it? VINA: You're no better choice. They'd have more luck crossing him with a computer. ONE: Well, shall we do a little time computation? There was a Vina listed on that expedition as an adult crewman. Now, adding eighteen years to your age then. (The Magistrate approaches the cell) VINA: It's not fair. I did what you asked. MAGISTRATE: Since you resist the present specimen, you now have a selection. PIKE: I'll break out of this zoo somehow and get to you. Is your blood red like ours? I'm going to find out. MAGISTRATE: Each of the two new specimens has qualities in her favour. The female you call Number One has the superior mind and would produce highly intelligent children. Although she seems to lack emotion, this is largely a pretence. She has often has fantasies involving you. PIKE: All I want to do is get my hands on you. Can you read these thoughts? Images of hate, killing? MAGISTRATE: The other new arrival has considered you unreachable but now is realising this has changed. The factors in her favour are youth and strength, plus unusually strong female drives. PIKE: You'll find my thoughts more interesting. Thoughts so primitive you can't understand. Emotions so ugly (stricken by pain) MAGISTRATE: Wrong thinking is punishable. Right thinking will be as quickly rewarded. You will find it an effective combination. (Magistrate leaves) ONE: Captain. PIKE: No. No, don't help me. I have to concentrate. They can't read through hate. [Bridge] SPOCK: Address intercraft. GARISON: Open, sir. SPOCK: This is the acting captain speaking. We have no choice now but to consider the safety of this vessel and the remainder of the crew. We're leaving. All decks prepare for hyperdrive. Time warp factor. TYLER: Mister Spock, the ship's controls have gone dead. (The lights go out) SPOCK: Engine room! GARISON: Open. SPOCK: Mister Spock here. Switch to rockets. We're blasting out. PITCAIRN [OC]: All systems are out, bridge. We've got nothing. TYLER: There's nothing. Every system aboard is fading out. [Pike's cell] (The group are apparently dozing when the Magistrate opens the hatch to get the laser pistols Pike dropped there. He grabs him and pulls him into the cage, and starts to throttle him) PIKE: Now you hold still, or I'll break your neck. VINA: Don't hurt them. They don't mean to be evil. PIKE: I've had some samples of how good they are. (the Talosian appears to be a vicious monster) PIKE: You stop this illusion, or I'll twist your head off. (it stops) All right, now you try one more illusion, you try anything at all, and I'll break your neck. MAGISTRATE: Your ship. Release me or we'll destroy it. {Bridge] (The senior officers have taken the navigation console apart) SPOCK: Nothing. But for the batteries we'd lose gravitation and oxygen. TYLER: The computers! (The monitor shows a montage of images - space capsules, the Moon, maps of Earth) TYLER: I can't shut it off. It's running through our library. Tapes, micro-records, everything. It doesn't make sense. SPOCK: Could be we've waited too long. It's collecting all the information stored in this fly. They've decided to swat us. [Pike's cell] VINA: He's not bluffing, Captain. With illusion they can make your crew work the wrong controls or push any button it takes to destroy your ship. PIKE: I'm going to gamble you're too intelligent to kill for no reason at all. (Pike hands the Magistrate over to Number One and picks up the laser pistols, firing them at the glass wall. Then he puts one to the Magistrate's head) PIKE: On the other hand, I've got a reason. I'm willing to bet you've created an illusion this laser is empty. I think it just blasted a hole in that window and you're keep us from seeing it. You want me to test my theory out on your head? (There is a hole in the window) COLT: Captain. (They all leave through the hole and get into the elevator to the surface) [Planet surface] (The top of the rocky knoll is split apart) PIKE: Make contact, Number One. ONE: They kept us from seeing this, too. We cut through and never knew it. Captain. (The communicator isn't working) MAGISTRATE: As you see, your attempt to escape accomplished nothing. PIKE: I want to contact our ship. MAGISTRATE: You are now on the surface where we wished you to be. With the female of your choice, you will now begin carefully guided lives. PIKE: And start by burying you? MAGISTRATE: That is your choice. To help you reclaim the planet's surface, our zoological gardens will furnish a variety of plant life. PIKE: Look, I'll make a deal with you. You and your life for the lives of these two Earth women. MAGISTRATE: Since our lifespan is many times yours, we have time to evolve you into a society trained to serve as artisans, technicians PIKE: Do you understand what I'm saying? You give me proof that our ship is all right, send these two back, and I'll stay with Vina. (Number One sets her laser pistol to overload) ONE: It's wrong to create a whole race of humans to live as slaves. MAGISTRATE: Is this a deception? Do you intend to destroy yourselves? VINA: What is that? PIKE: The weapon is building up an overload. A force chamber explosion. You still have time to get underground. Well, go on! (pushes Vina away) Just to show you how primitive humans are, Talosian, you go with her. VINA: If, if you all think it's this important, then I can't go either. I suppose if they have one human being, they might try again. (More Talosians arrive) PIKE: Wait. (Number One turns off the pistol) TALOSIAN: Their method of storing records is crude and consumed much time. Are you prepared to assimilate it? (The Magistrate nods, and the veins on his head throb) MAGISTRATE: We had not believed this possible. The customs and history of your race show a unique hatred of captivity. Even when it's pleasant and benevolent, you prefer death. This makes you too violent and dangerous a species for our needs. VINA: He means that they can't use you. You're free to go back to the ship. PIKE: And that's it? No apologies? You captured one of us, threatened all of us. TALOSIAN: Your unsuitability has condemned the Talosian race to eventual death. Is this not sufficient? MAGISTRATE: No other specimen has shown your adaptability. You were our last hope. PIKE: But wouldn't some form of trade, mutual co-operation? MAGISTRATE: Your race would learn our power of illusion and destroy itself too. ONE: Captain, we have transporter control now. PIKE: Let's get back to the ship. VINA: I can't. I can't go with you. [Transporter room] PITCAIRN: Sir, it just came on. We can't shut the power off. SPOCK: Mister Spock here. TYLER [OC]: All power has come on, Mister Spock. The helm is answering to control. (The transporter platforms light up and first Colt, then Number One are beamed aboard) GARISON: The captain? [Planet surface] (Vina changes into a scarred, misshapen older woman) VINA: You see why I can't go with you. MAGISTRATE: This is the female's true appearance. VINA: They found me in the wreckage, dying. A lump of flesh. They rebuilt me. Everything works. But they had never seen a human. They had no guide for putting me back together. MAGISTRATE: It was necessary to convince you her desire to stay is an honest one. PIKE: You'll give her back her illusion of beauty? MAGISTRATE: And more. (Beautiful Vina and happy Pike go up the slope and into the elevator) MAGISTRATE: She has an illusion and you have reality. May you find your way as pleasant. [Transporter room] PITCAIRN: Mister Spock, the system is coming on again. (Pike is beamed aboard) COLT: What's happened to Vina? ONE: Isn't she coming with us? PIKE: No. No, and I agreed with her reasons. [Bridge] (Pike, Number One and Spock enter) BOYCE: Hold on a minute. PIKE: Oh, I feel fine, just fine. BOYCE: You look a hundred percent better. PIKE: You recommended a rest, a change of pace, didn't you? I've even been home. Does that make you happy? (He bumps into Colt again) PIKE: Yeoman. COLT: Yes, sir. PIKE: I thought I told you that when I'm on the bridge I (She hands him a clip-board stuffed with papers for his signature) PIKE: Oh. Oh yes. The reports. Thank you. COLT: Sir, I was wondering. Just curious. Who would have been Eve? ONE: Yeoman! You've delivered your report. COLT: Yes, ma'am. Yes, sir. TYLER: Eve, sir? Yes, sir. BOYCE: Eve as in Adam? PIKE: As in all ship's doctors are dirty old men. What are we running here, a cadet ship, Number One? Are we ready or not? ONE: All decks show ready, sir. PIKE: Engage.

Composer

Composer thrine the English coast,
Slid and roe to prepare to go private,
State embargo takes my inter alia,
Queen and Country complete for ten crazy years,
Fast u _boat not a slow ship,
Vegetable King causes roits in religious fraction,
Dictator speaks rubbish,
Rope at bow causes the mob to debate,
Girl in stack in country bar pawning item a tomb laden,
Judge a right in dungeon,
Round in the morning I learn about books from the television,
Behaving like a cheese dish,
Rebuilding chalet that needs support,
Rising important small study about headless sheep,
Bathrobe artist a devotee of having a try at experiences. 

Coffee Time (1)

The strand was full of infantryman from the a Balkan nation.
Looking to search African river to retinue a bath ,this in order to germinate invertebrate creatures.
So be able to be tasteless article s capable of destroying enemies fast motor craft.
But unknown to them crowds wish to send them away to a middle Eastern land for operation Singer Lennox.
The infantryman soon operate the cutting edge of the big gun know as the Referee.
The enemy has no religious adherant to showing of portable lamps .
Finally nothing is left on the battlefield apart from thousands of metal bricks instead of the humans thuer once were.
Later many years pass as a schoolboy carrying a schoolbag to go to innumerable college of privileged pupil .
Were he learns in history of a once proud Nordic nation.
At home his mother and father watch a documentary about a Jamaican sectarian who was into refinement.
Thus ends another coffee time short story. 

Lifting weights for 3 seconds a day No i don't think so

 

CFZ On the Track Holsworthy Extra Sea Sponges feast on Fossil s

 

Join me

 

Dino News Abitosaurus Kuehnei

 

CFZ On the Track Holsworthy Extra White Cheeked Macaque

 

CFZ On the Track Holsworthy Extra new Antarctic Penguin Colonies

 

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