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How To Cook Like a Syrian: Making My MotherŌĆÖs Matbucha
I never wanted to learn to make my motherŌĆÖs matbucha, a savory eggplant saladŌĆōuntil I became a mom-to-be
When Irv and I faced each other under the chuppah three years ago, I thought about my role as his wife. I was ready to assume some of the responsibilities that came with the title ŌĆ£Mrs.ŌĆØŌĆölike standing in synagogue when Irv went up to the Torah, and visiting the mikveh every month. But I didnŌĆÖt want to put on the pink, frilly apron my friends gave me at my bridal shower and spend hours doing what my mother called ŌĆ£kitchen duty.ŌĆØ
Cooking, my mother taught me, was an essential part of being a Syrian Jewish wife. But as a new bride, I discovered a secret life beyond the kitchenŌĆöa life my mother never told me about. Instead of schlepping home bags from Syrian grocers in Brooklyn, I spent my evenings with girlfriends at happy hour in Manhattan and ordered takeout dinners on Seamless.com. Irv encouraged my rebellious behavior, excited to have an adventurous and independent woman on his arm.
And he still got the home-cooked meals that men have long come to expect from their Syrian Jewish wives. He just got them from my mother. Whenever I would visit, she would drop a jar of her savory matbucha, the warm tomato and eggplant salad thatŌĆÖs central to Syrian cuisine, into my bag. ŌĆ£For your husband,ŌĆØ sheŌĆÖd tell me, her tone implicitly disapproving of the fact that I hadnŌĆÖt cooked it myself, the way a proper Syrian wife would. ŌĆ£Irv loves matbucha.ŌĆØ When IŌĆÖd get home, Irv would twist off the cap and dunk a tablespoon into the chunky red mix. ŌĆ£Mmm,ŌĆØ heŌĆÖd say with total sincerity, hoping his independent wife might at least take the time to use the kitchen once in a while. ŌĆ£I canŌĆÖt wait for you to cook like your mom.ŌĆØ
Before he met my mother, IrvŌĆÖs Lebanese taste buds only sampled store-bought matbucha. It lacked the freshness and authenticity of matbucha cooked in a Syrian kitchen, and so my motherŌĆÖs won over his heart. As he ate every last bite, I would think to myself: I love eating it, too, but thereŌĆÖs no way IŌĆÖm going to cook itŌĆösaut├®ing eggplant, peppers, and crushed tomatoes until our apartment smells of matbucha.
But that all changed eight months ago, as I watched two pink lines spread across the screen of a home pregnancy test. I had weaseled my way out of cooking for Irv, but my baby squirmed inside whenever my mother slipped matbucha into my purse. The little Syrian Jew inside me wanted my motherŌĆÖs cooking, just like its dad. And this time I couldnŌĆÖt say no.
I loved growing up in Brooklyn, just blocks from where my great-grandparents settled after leaving Aleppo in the early 1900s. I loved Friday nightsŌĆöa time of relaxation for my three siblings and me in our Modern Orthodox home. I loved the smell of warm white rice and lemony grape leaves that my mother made every Shabbat. I loved fighting for the seat next to my dad at the head of the table. Sometimes I wondered if my mother felt neglected, but she would get her time with me soon afterward.
I hated that part.
Once the six of us finished eating and the ceramic plates were littered with olive pits and challah crumbs and smeared with matbucha, my brothers and my dad headed to the couch. My sister and I followed my mom to the kitchen. We scooped leftover chunks of matbucha from small glass bowls into Tupperware and stacked the crusty dishes by the sink. My mother scrubbed them clean, her gold bangles clanking together as her arms moved back and forth. Her cooked salad defined our Shabbat tableŌĆöas it did for many holidays and family gatheringsŌĆöbut it made for a miserable cleanup. Kitchen duty, I decided from a young age, was not for me.
And it didnŌĆÖt have to be. My mother flipped pancakes on weekday mornings, packed turkey sandwiches on pita bread for me to take for lunch, and had lentil soup waiting for dinner. By the time I started college, IŌĆÖd never even boiled a pot of pasta. And when I left her house to become IrvŌĆÖs wife, my prayers under the chuppah were answered. Now my mother cooked for both me and my husband. And any guilt I felt for disappointing herŌĆöor IrvŌĆöquickly disappeared as I got to enjoy both her food and my freedom.
I knew one day she would cook for my children, tooŌĆöand happily, too, as their grandmother. But the thought of that eventually caused me tremendous guilt. What kind of mother would I be if I didnŌĆÖt provide the comfort of homemade meals, the warmth that Syrian cooking aromas brought to the home?
The Syrian Jewish community, which numbers more than 60,000 in Brooklyn alone, holds on to a past over 5,000 miles and 100 years away. When the first immigrants moved from communal villages in Aleppo to ManhattanŌĆÖs Lower East Side in 1919, their olive-colored skin, Arabic language, and spicy, tangy foods set them apart from the Eastern European Jews who lived in the neighborhood. The Syrians adopted Western dress, learned English, and settled on Ocean Parkway in Brooklyn. But one aspect of Aleppan lifeŌĆöfoodŌĆöstayed the same. For my family, this meant matbucha. Savta Elana, my grandmother, fried the eggplant, while my mother baked it, but either way, the red salad always had its spot on the table.
I needed matbucha to have a spot on my own table. The future of my peopleŌĆöthe future of my marriage and my Jewish child-to-beŌĆödepended on it. I called my mother and asked for her recipe. She proudly listed the ingredients.
Friday afternoon was not the best time to start.
I had attempted to make my motherŌĆÖs matbucha for Shabbat, but so far all I had was a stovetop splattered with tomato sauce, and frizzy hair that reeked of fried onions. I left the high flame unsupervised and the tomatoes burnt into solid, black crisp on the bottom of the pan.
With three hours to go until candle lighting, I knew my motherŌĆÖs matbucha was already garnished with a couple of parsley sprigs and ready to grace her table. I looked over at the sliced eggplant rounds about to become part of my experiment, their slimy juices absorbed by a paper towel underneath them. As I heard the crackling of a burning onion and I watched smoke rise from the pan, I realized that tradition had stopped cold in my home. I wondered why my motherŌĆÖs kitchen never resembled my own at the moment. And how come her hair never smelled like onions? I dialed my mother.
ŌĆ£Boil some cinnamon, Paulette,ŌĆØ she said, her favorite trick for cutting down on kitchen odors. ŌĆ£Who saut├®s an onion without it?ŌĆØ
Continue reading: Advice from Mom
I filled a pot with water and ground cinnamon and waited for the sweet scent to mask my failure. I pulled a Tupperware of my momŌĆÖs matbucha from the freezer. It would defrost just in time for IrvŌĆÖs arrival. I felt relieved I hadnŌĆÖt told him what I set out to do that day. At least only I knew how dire the situation had become. As I lit the candles that night, I prayed I would find fulfillment from kitchen duty. My cabinets overflowed with my motherŌĆÖs Tupperware, and I feared she would soon send me home with baby food, too.
The following Thursday, I decided to trek back to my motherŌĆÖs home, where I knew she would already be preparing for Shabbat. As I turned onto her block, she waved from the porch and blew kisses like she used to when I stepped off the school bus. I followed her through the living room where she once spent evenings helping me with homework, through the dining room where we lit Shabbat candles together, and into the kitchen where she taught my siblings and me a new vocabulary word over breakfast each morning.
ŌĆ£LetŌĆÖs begin,ŌĆØ she said. Her bangles clanked together as she tossed me an apron.
We spent the next few hours dicing and stirring eggplants and tomatoes into her masterpiece. She gets so much joy from this, I thought. Joy from cooking, but also joy that I need her even as a grown, married woman. ItŌĆÖs how she raised me. I looked down at my baby bump and hoped I would do the same. I might not ever be the perfect Syrian Jewish mother, but I would always be something even luckier: the daughter of one.
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European Sustainability Week 2015
The EU Sustainable Energy Week (EUSEW), an initiative of the European Commission, has been running… More >
Our logo next to a news item means that it's associated with SWM
The EU Sustainable Energy Week (EUSEW), an initiative of the European Commission, has been running… More >
SWM member, Midcounties Co-operative, have won the Queen's Award for Enterprise for Sustainability. In fact, three of… More >
Election 2015 We are an independent organisation that promotes economic, social and environmentally sustainable solutions for… More >
This year's Making Birmingham Greener & Healthier Awards were launched yesterday at the offices of Mott MacDonald, SWM… More >
SWM member, Cenex, is advertising an exiting new vacancy. They are looking for a technical… More >
We have been working with our colleagues in the London Climate Change Partnership (LCCP) to produce… More >
Innovation UK offer innovation vouchers to all kinds of smaller businesses. You can claim up… More >
The third release of the Green Deal Home Improvement Fund (GDHIF) opened to applications on… More >
This month DECC published the latest results of their funding for local authorities to help… More >
The last budget before the General Election in May. So how did this budget fair… More >
Five West Midlands companies, with buildings and operations in six local authority areas, have benefited… More >
Due to the availability of additional funds, we are very pleased to announce a new… More >
Smart Network, Smarter Choices is making sustainable travel easier for businesses across the region. Centro's… More >
We at Climate-KIC want to support entrepreneurs to tackle climate change, to provide you with the… More >
SWM and many of our members are supporting Solihull Council in running a green careers… More >
Round 18 is now open and the deadline for submission of applications is 5.00 pm,… More >
SWM member, Climate KIC, are offering The Accelerator, a 9 month programme which helps to… More >
Birmingham has been ranked ahead of the likes of New York, Tokyo and Rome in… More >
Now in their fifth year, the BusinessGreen Leaders Awards celebrate the leading businesses, executives, entrepreneurs,… More >
SWM members, Innovation Birmingham, are seeking fifty professionals, whose work helps in the fight to mitigate… More >

subset: commoncrawl


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follow Dictionary.com
9 Grammatical Pitfalls
c.1300, from Anglo-French *escauberc "sheath, vagina" (13c.), from Frankish or another Germanic source, from Proto-Germanic *sker-berg-, literally "sword-protector," from *skar "blade" (cf. Old High German scar "scissors, blade, sword," from PIE *(s)ker- (1) "to cut;" see shear) + *berg- "protect" (cf. Old High German bergan "to protect;" see bury).


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hmmm..i'd have to say SCIENCES....(biology....and all that other crap-) i hate
i like anything else
Just wondering which classes you like(d) or hate(d).
I like: Intro to vet tech, Webmastering, PE Foundations ( a blow off class), French I
Classes I hate: English, Biology, Honors Algebra I,
Classes where the frickin devil must teach them: World Geography
Icy cold Toilet Paper!!!!
hmmm..i'd have to say SCIENCES....(biology....and all that other crap-) i hate
i like anything else
hmmmmmm...........wat new world.......
hmmmmmm........... i see.....
dude where'z my car
lol science is ok its just kinda hard because im in the smart kids class so i seem dumber than i accualy am
Icy cold Toilet Paper!!!!
I hate Math and Biology -.-
I love Japanese, History and English.Lit. :]
I like Art, Music, and Dance
I hate Science, Geography, English, PE, and Maths
FAVOURITE THREADS EXPLAIN why, or risk an infraction.
| Sazzy-Bu.co.uk | My Deviant Art | Anime Vector | Otaku Zen | My Twitter | My Tumblr | My last.fm |
I hate math and sciences but I am avoiding them for the time being. Its a wonder to be in college.
I am taking 3 classes that I love right now. US History (even though I skipped it today . ), Shakesperian Lit, and SciFi Lit (which I have to leave right now to go to).
When I go to U of O I am probably going to take a bunch of European and Middle Eastern history courses and German. For fun classes I know that they have classes like Learn Japanese through Manga...Japanese pop culture...etc. But I like more academic classes more than anything.
Only 13 posts?!? I demand a recount. I was at a 1,000 way back when. And it took me 2+ years to get there! I unleash my wrath....Now!
I like science Health geograpny I hate math reading (because of the teacher not because I don't like reading) art is okay though
I am the fire that light your wood. I'm the thunder that lights you night. I'm the wind that keeps you cool. are you wondering who I am? I'm the great wizard serge
please join this site if you like any type of games
I love sociology. It completely opens up your mind! I dislike english. I'm very good at it, but its so boring.
That's all she wrote.


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- Shopping Bag ( 0 items )
From the Publisher
"...well written and informative...provides interesting information on nutrition with a global perspective in a readable and highly understandable presentation"-E STREAMS (June 2003)
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Local.com Announces Patent For Location-Based Search
I've got a patent, you've got a patent. It seems that nearly everyone running an Internet company has a patent nowadays. Local.com is the latest to announce a patent in the local space. The patent (no. 7,231,405), which I was unable to locate through a USPTO and Google Patents search, "covers local search technology related to identifying location information from web documents, indexing that information and making it searchable geographically" according to the press release.
Jingle Networks, which operates 1-800-Free411, was recently awarded a locally oriented patent for ad supported directory assistance. And IP holding company Geomas has sued Verizon in U.S. District Court to enforce its extremely broad local search patent.
These patent announcements emerge as something of a marketing (and potential M&A) vehicle for these companies. The whole technology patent area seems to be in some disarray. Given all the patents, one has to expect litigation in order to resolve the confusion and competing claims. And even then we're probably talking about appeals. The whole process gets extremely expensive. But unless these companies are willing to litigate numerous would-be licensees will likely balk.
The recent U.S. Supreme Court KSR v. Teleflex decision seems to put the courts somewhat at odds with the U.S. Patent Office itself. The court is trying to provide some limits on the enforceability of "obvious" inventions or those that would come in the course of "ordinary innovation."
Postscript: I was sent a link to the patent from Local.com. It appears to have been acquired from a third party.
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Syntactic Confectionery Delight | |
PerlMonks |
Re^3: command line perl reading from STDINby perlhappy (Novice) |
on Jan 22, 2013 at 18:12 UTC ( #1014749=note: print w/ replies, xml ) | Need Help?? |
Actually, I think I've just worked it out my head. Took a bit of thinking but this is what i think it is doing
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Seekers of Perl Wisdom


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Leo Lionni, an internationally known designer, illustrator, and graphic artist, was born in Holland and lived in Italy until he came to the United States in 1939. He was the recipient of the 1984 American Institute of Graphic Arts Gold Medal and was honored posthumously in 2007 with the Society of Illustrators' Lifetime Achievement Award. His picture books are distinguished by their enduring moral themes, graphic simplicity and brilliant use of collage, and include four Caldecott Honor Books: Inch by Inch, Frederick, Swimmy, and Alexander and the Wind-Up Mouse. Hailed as "a master of the simple fable" by the Chicago Tribune, he died in 1999 at the age of 89.
From the Hardcover edition.
About this Book
A young snail dreams of having the biggest house—or shell—in the world. Then one day, his wise father tells him the story of another snail with the same dream. He grew and grew, adding bright colors and beautiful designs, until he found that his house came at a terrible cost. The young snail decides that a small, easy-to-carry shell might be best for a life of adventure and exploration.


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It is always good to deprive your children because then they get really excited when you buy them the simplest things. For example:
"Look what I got you when I went shopping last night." I dangled a pack of new socks in the air.
Yo-Yo, who was washing dishes, turned around to look. When he saw what I was holding his eyes got big and his whole face lit up. "Four pairs of socks! That's just brilliant, Mama!" He sighed happily and turned back to his dishes. "I've been wanting them for months!"
These were not fancy socks, mind you, just your basic white ankle sock, with a little black emblem (a star!) on the elastic band.
I overheard him chattering about them later on, saying something like "I'll have one pair to wear outside, one pair for in the morning, one for in the afternoon, one for bedtime..."
Just think how excited he would be if he knew that I also bought him a pair of Spiderman swimming trunks. And two shirts. I haven't given them to him yet because after I saw his reaction to the socks I decided I ought to dole out the pleasure in small, manageable chunks. I wouldn't want to put him over the edge.
Besides, I don't want him to start expecting things. Because then he would become a jaded kid, rather than a deprived one. And deprived kids are definitely more fun to buy for, and much, much easier to please.
Friday, October 17, 2008
3 comments:
- AnonymousOctober 17, 2008 at 6:13 AM
Oh, to take joy in the simple things in life. I just love it when my 13 year old is thrilled with a pack of new underwear.
-Aunt Valerie - ShannonOctober 18, 2008 at 10:43 AM
Deprivation? My kids don't get new socks and underwear unless its their birthday or Christmas!
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- By Val Bitici Twerdahl –
Two exhibitions of works by London based fashion photographer Mario Testino opened this weekend at the Museum of Fine Arts in Boston. Displaying Testino's broad scope and his eye for setting up and capturing beautiful shots, In Your Face and British Royal Portraits mark the first time the artist's photographs have been exhibited in the United States. Each photo in these exhibits was chosen by Testino himself.
A view of Mario Testino's "In Your Face"
Made up of 122 photographs, In Your Face is the larger of the two shows, and with bold works of varying dimensions—the largest of them 8' x 6'—the exhibit has no trouble living up to its name. When entering the show, viewers are greeted by a bank of 16 television screens broadcasting documentary-like video footage of a passionate photographer at work. Such is the theme of the exhibit which is set up much like an artist's workspace with pictures either tacked casually to the walls or framed and hung. The show is comprised of two different kinds of subjects: lesser known models whose sole purpose is to display the clothing and makeup they are wearing, and portraits of A-list celebrities such as Sienna Miller, Gwyneth Paltrow, and Lady Gaga in elaborate, couture outfits. Demonstrating Testino's caliber, the exhibit features many of his cover images for magazines, including a Gisele cover for Vanity Fair and a Kate Moss cover for Vogue. The show even includes a lively photo shot just this summer of football player Tom Brady with a Doberman Pinscher.
By contrast, British Royal Portraits is a more intimate exhibition, with just 16 pictures on view. Shot during the past 31 years of Testino's career, these pictures include the very first picture the London-based artist ever took of British royalty—a candid, smiley snapshot of the Queen Mother seated in a carriage with her grandson, Prince Edward. Even Testino's most formal royal portraits, such as the famous engagement photos of the Duke and Duchess of Cambridge, display a warm, personal stateliness rather than a standoffish grandeur. These pictures not only commemorate Testino's prestigious role as a royal family portrait photographer but also the personal way in which he captures his majestic subjects.
Keith Richards and Mick Jagger, Los Angeles 2003
From his artful fashion photographs and honest candids, to the intimate portraits of the British royal family, the works currently on view at MFA Boston display Testino's role in the history of portraiture and fashion photography.
Mario Testino: In Your Face is on view now through February 3, 2013. Mario Testino: British Royal Portraits is on view now through June 16, 2013.
Stella Tennant for American Vogue, 2006


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Welcome to the home of W8FFF. Our primary
Headquarters for on-air operations is located at the Museum of Radio and
Technology building located in Huntington, WV.
Our club members are from throughout the 8th area call region. Anyone anyone residing in the 8th area, is welcome to join. Our objectives are to promote the use of CW, to encourage good will, engender friendships through the use and art of Morse Code, while having tons of fun. |
since 27Mar00 last updated 14-JAN-04 |
Designed by ki8du ALL RIGHTS RESERVED 1999 - 2004 |


text:
The 4 Phases Of the Stretch: Phase 3 (sidebar)
Hose should not be arbitrarily thrown wherever space allows. Instead, slow down and think about the positioning of the hose. The term "staging hose" implies that the hose is placed purposefully in a position to assist the firefighters when making the advance.


text:
OCA Sponsors Club
Asian Games Sponsors
- official website of the Olympic Council of Asia
| Asian Games
Asian Games
As the biggest multi-sport games after the Olympic Games, the Asian Games is the most prestigious event organised by the Olympic Council of Asia. Similar to the Olympic Games, the Asian Games are held every four years, with the 17th edition to be held in Incheon in 2014.
The Asian Games follow the sports programme of the Olympic Games, with swimming and athletics as the core sports, as well as featuring disciplines which reflect the diverse sporting culture of the continent such as sepaktakraw (South East Asia), kabaddi (South Asia) and wushu (East Asia).
The inaugural Asian Games took place in New Delhi, India, in 1951 with 11 countries competing in six sports. The 16th Asian Games in Guangzhou, China, in 2010 featured 45 countries and regions competing in 42 sports, highlighting the growth of the Olympic Movement in Asia.
Past and Future Asian Games
Past Games
New Delhi 1951
Seoul 1986
Manila 1954
Beijing 1990
Tokyo 1958
Hiroshima 1994
Jakarta 1962
Bangkok 1998
Bangkok 1966
Busan 2002
Bangkok 1970
Doha 2006
Tehran 1974
Guangzhou 2010
Bangkok 1978
Incheon 2014
New Delhi 1982
Future Games
Jakarta 2018
Incheon Asian Games star wins top award...
Seoul, Korea: Rhythmic gymnast Son Yeon-jae has been announced as South Korea's top amateur athlete of 2014, reports Yonhap News in Seoul. The 20-year-old Son, one of the coun...
18-8-18 start planned for 18th Asian Games...
Jakarta, Indonesia: The President of the Indonesian Olympic Committee, Rita Subowo, began the countdown to the 18th Asian Games in Jakarta and Palembang in 2018 in her opening...
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Asian Games
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-Asian Indoor Games
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Asian Games Organising Committee
The Asian Games Organising Committee(AGOC) organise the Asian Games in collaboration with their National Olympic Committee and the host city.
Asian Games
Medal count
List of games
List of sports
Far Eastern Championship Games
The Far Eastern Championship Games (also known as Far East Games) was a small Asian multi-sport competition considered to be a precursor.
Asian marks
A big part of any major sports event is the official marks, including the logo, mascot and slogan. They contribute to the fun and the friendship of the occasion, and bring back happy memories for years to come.
Asian Regional Games
East Asian Games
Central Asian Games
South Asian Games
South East Asian Games
West Asian Games
South Asian Beach Games
Video Gallery
Best of 17th Asian Games 2014 Highlight...
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17th Incheon Asian Games Closing Ceremo...
Video Dated: 04.10.2014
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Day 14 Highlights - 17th Asian Games, ...
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Day 13 Highlights - 17th Asian Games, ...
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text: HUBBELL, Mary J. (Garrett), 24 Feb 1816 - 12 Sep 1892. 76-06-18. 'Wife of N. B. Hubbell.' Inscription: "MARY J. Wife of N. B. HUBBELL, Born Feb 24, 1816 Died Sep 12, 1892, Age 76 Yrs 6 Mo & 18 Days. This inscription is on the opposite side of where the inscription of N. B. Hubbell on the same stone. The stone is dangerously close to falling. When it does it is likely to cause breakage of the parts. Amazing story here is that the tree has actually caused the stone to remain standing longer than it normally would under the constant assault of the cattle rubbing against it. Photo & info by Wayne Austin 4/7/04.


text:
NEW BRUNSWICK, N.J., Aug. 1 /PRNewswire-FirstCall/ -- Senesco Technologies, Inc. ("Senesco" or the "Company") (Amex: SNT) announced today that Bayer CropScience has successfully completed the first R&D milestone related to Bayer's use of Senesco's technology in Brassica oilseeds.
Senesco's proprietary gene technology was licensed to Bayer CropScience in November 2006 to enhance Canola yields in Bayer's InVigor(R) canola hybrids and future hybrid's business internationally. Upon completion of this milestone, Senesco received an undisclosed payment from Bayer.
"We are pleased to arrive at this initial R&D milestone with Bayer CropScience," said Bruce Galton, President and CEO of Senesco. "We believe that our gene technology has broad application to both food and non-food crops."
About Senesco Technologies, Inc.
Senesco Technologies, Inc. is a U.S. biotechnology company,
headquartered in New Brunswick, NJ. Senesco has initiated preclinical
research to trigger or delay cell death in mammals (apoptosis) to determine
if the technology is applicable in human medicine. Accelerating apoptosis
may have applications to development of cancer treatments. Delaying
apoptosis may have applications to certain inflammatory and ischemic
diseases. Senesco takes its name from the scientific term for the aging of
plant cells: senescence. Delaying cell breakdown in plants extends
freshness after harvesting, while increasing crop yields, plant size and
resistance to environmental stress. The Company believes that its
technology can be used to develop superior strains of crops without any
modification other than delaying natural plant senescence. Senesco has
partnered with leading-edge companies engaged in agricultural biotechnology
SOURCE Senesco Technologies, Inc. Copyright©2008 PR Newswire. All rights reserved |


text:
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For every cyclist, it is hard to really be able to bring the right amount of water supply to keep your whole system well hydrated. Water is very important for every cyclist. This is important to keep the energy of the rider always high to be able to perform well.
But have you ever experienced the need of checking the amount of water that you have left with you even while you are in the middle of your rode? Then here is the solution to this trouble.
The FlowMeter from CamelBak is a very smart gadget that serves as a personal accessory for hydration. With it as a member of the rest of the stuffs in your bag, you can be sure that you would lessen the risk of running out of water and the stress of always checking how much water is left.
With its proper measurement feature, it would also inform…


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April 25, 2014
MUSCLE SHOALS, Ala. – The University of Tennessee at Martin golf team racked up the hardware this evening at the Ohio Valley Conference championships banquet, conducted after today's first round of action at the Fighting Joe course on the Robert Trent Jones Golf Trail.
Brendon Caballero and Ben Reeves were each named to the 10-man All-OVC team, while Austin Swafford brought home OVC Freshman of the Year honors and a spot on the All-OVC Newcomer squad. The Skyhawks become just the second OVC school to produce back-to-back Freshmen of the Year (Reeves won the award in 2013).
Caballero becomes the first UT Martin golfer to earn a spot on the All-OVC team in multiple seasons, as he was also on the prestigious list in 2013. The Brentwood, Tenn. native entered this weekend's tournament as one of the favorites to win the tournament, as he came up just one stroke shy of medalist honors last season as a sophomore. His 73.28 average score ranked sixth in the OVC and he chalked up four top-10 finishes, including a win at the TSU Big Blue Intercollegiate on April 14-15. In addition to his two career All-OVC team honors, he was also named an All-OVC Newcomer in 2012 and was a 2013 OVC All-Tournament honoree.
"Brendon has been one of our team leaders all year and is very deserving of this award," Skyhawk head coach Jerry Carpenter said. "He led the team in nine scoring categories, including lowest scoring average. He is a very hard worker, a very competitive individual, he strives to improve each day and is an outstanding student in the classroom."
Reeves avoided a sophomore slump and emerged as one of the most consistent golfers in the league, becoming just the fifth golfer in UT Martin history to nab All-OVC honors. The sophomore out of Knoxville, Tenn. carded an average round of 73.83 this season, ranking No. 7 in the OVC in that category. He had a low round of 70 (second round at the Austin Peay Intercollegiate on Oct. 14-15) and placed fifth at the Frito Lay/Taco Bell Intercollegiate on Feb. 16-17. In addition to his crowning as the league's top freshman last season, he also earned All-OVC Newcomer status in 2013.
"Ben is the team captain and is a leader on and off the golf course," Carpenter said. "He is very deserving of this award. He puts in more than extra time and has improved his game each tournament while leading the team in four categories. He is an honor student and leads by example. He is probably a better person than a golfer and he is an outstanding campus leader."
A Lebanon, Tenn. native, Swafford joins Reeves as the only OVC Freshmen of the Year in UT Martin golf history. Swafford splashed onto the scene this season, ranking 23rd in the OVC in scoring average (74.72). His best finish was a seventh place performance at the Murray State Invitational on Sept. 30-Oct. 1, with his best round of the year (68) coming in the third and final round of that same event.
"Austin has improved his game since he started this fall and exceeded expectations during his freshman year," Carpenter said. "He is an extremely hard worker and practices with a purpose every day. He has a scoring average that has been in the top-25 all season and had led other freshmen in the league all season. He is very deserving of the Freshman of the Year and Newcomer awards."
Event Calendar
« | April 2015 | » |
1 | 2 | 3 | 4 | |||
5 | 6 | 7 | 8 | 9 | 10 | 11 |
12 | 13 | 14 | 15 | 16 | 17 | 18 |
19 | 20 | 21 | 22 | 23 | 24 | 25 |
26 | 27 | 28 | 29 | 30 |
Coaching Staff
Golf Stat
Rhodes Golf Center Phase II Construction


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COMMERCIAL DESCRIPTION A cross between a German and Czech pilsner. Brewed with pilsner and munich malt with hallertau, tettnang and saaz hops. This beer has a bready, toasty malt flavor with a grassy hop aroma. You may often find its namesake, a regular customer, enjoying a pint at our bar. 5.5% abv
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The central console of the TARDIS is sparking crazily as MARTHA and THE DOCTOR start to pick themselves up off the floor. THE DOCTOR dashes to MARTHA, grabs her hand and pulls her to up, then pulls her eye to eye.
THE DOCTOR (urgently) Did they see you? MARTHA I don't know! THE DOCTOR Did they see you? MARTHA I don't know, I was too busy running! DOCTOR Martha, it's important -- did they see your face? MARTHA No, they couldn't have!
THE DOCTOR runs round the console and starts playing with controls.
THE DOCTOR Off we go!
MARTHA comes to stand next to him as he watches the time rotor intently. As a warning beep cuts in, we see symbols on the console screen.
THE DOCTOR (annoyed) Ahhh!
THE DOCTOR grabs the console screen and reads it.
THE DOCTOR They're following us.
He goes back to the controls.
MARTHA How can they do that, you've got a time machine. THE DOCTOR Stolen technology, they've got a Time Agent's vortex manipulator. They can follow us wherever we go, right across the universe- (pause) they're never going to stop.
He runs a hand through his hair nervously and stares; then an idea comes to him.
THE DOCTOR (Quietly) Unless....I'll have to do it...
He stares into MARTHA's eyes.
THE DOCTOR Martha, you trust me don't you? MARTHA Of course I do. THE DOCTOR Cause it all depends on you.
He dives below the console to retrieve something, MARTHA watches on in confusion.
MARTHA What does, what am I supposed to do?
THE DOCTOR reappears holding an ornate pocket watch aloft.
THE DOCTOR Take this watch, 'cause my life depends on it. The watch, Martha- The watch is-
THE DOCTOR is lying in a bed sporting a pair of blue striped pyjamas. His eyes flick open suddenly, cutting in from the last scene. He blinks in confusion a few times, and we see he is in an ornate Victorian room, wood panelling and framed paintings. After a couple of seconds, he pushes himself to sit up, feet on the floor. As he rubs his eyes, we hear a knock. Shortly after, there is the sound of a door opening.
THE DOCTOR (calls) Come in.
MARTHA enters, wearing a Victorian maid's uniform and carrying a tray of breakfast. As she sees THE DOCTOR sitting on his bed, her eyes widen and she turns back.
MARTHA Pardon me, Mr Smith, you're not dressed yet. I can come back later-
She turns to go as THE DOCTOR stands, pulling and tying a dressing gown around himself.
THE DOCTOR No, it's alright, it's alright. Put it down.
MARTHA walks to a table in the middle of the room and sets the tray down, keeping her eyes lowered. THE DOCTOR watches her thoughtfully.
THE DOCTOR I was, um... (pause) Sorry, sorry. (Thoughtfully) Sometimes I have these extraordinary dreams.
MARTHA crosses to the window and pulls the curtains open.
MARTHA What about, sir? THE DOCTOR I dream I'm this...(he searches for the right term) Adventurer. This...daredevil, a madman. 'The Doctor', I'm called. And last night I dreamt that you were there, as my... companion.
MARTHA crosses back to the tray on the table- THE DOCTOR's eyes have been following her across the room.
MARTHA A teacher and a housemaid, sir? That's impossible. THE DOCTOR Ah no, a man from another world, though... MARTHA Well it can't be true because there's no such thing.
THE DOCTOR has moved to the fireplace and looks at the mantle- where the watch is sitting.
THE DOCTOR This thing...(he picks up the watch) The watch...
MARTHA watches him, hopeful; but after holding it for a second he replaces it on the mantle with a sigh.
THE DOCTOR Ah, it's funny how dreams slip away. (He turns back to MARTHA) But I do remember one thing; it all took place in the future. In the year of Our Lord two thousand and seven. MARTHA I can prove that wrong for you sir, here's the morning paper. (She hands it to him) It's Monday, November tenth, nineteen thirteen, and you're completely human, sir. (She smiles at him) As human as they come. THE DOCTOR Mmm, that's me; completely human.
He smiles.
OPENING CREDITS David Tennant Freema Agyeman "HUMAN NATURE" by Paul Cornell PRODUCED BY Susie Liggat DIRECTED BY Charles Palme
David Tennant Freema Agyeman "HUMAN NATURE" by Paul Cornell
PRODUCED BY Susie Liggat
DIRECTED BY Charles Palme
The Union Jack flag is being raised to full mast as a choir of boys sing a hymn. We see an impressive old school building, almost like a fortress and a group of schoolboys, marching in regimented lines into the school grounds. An early motor car beeps its horn as it drives past the gates to pull up near to the main door. THE DOCTOR, in a suit, mortat board and teacher's gown, walks past a group of students before turning into the main door.
BOY 1 Morning, Sir.
He passes a young boy in the corridor.
BOY Morning, Sir.
A bell rings, calling the start of school. Further into the building, THE DOCTOR passes more teachers and nods to one who is heading for a flight of stairs.
THE DOCTOR Headmaster.
A little later, and we see THE DOCTOR taking a history lesson, cane in one hand and textbook in another. The neat copperplate writing on the chalkboard reads 'Battle of Waterloo, 18th June 1815'. THE DOCTOR is reading aloud from the textbook while the class look on attentively.
THE DOCTOR -impediment. The French were all but spent, with only two battalions of the old guard remaining. A final reserve force was charged with protecting Napoleon. By evening, the advance of the Allied troops had forced them to retreat.
Out in the school corridor, MARTHA and JENNY, another maid, are on their hands and knees scrubbing the tiled floor. THE DOCTOR walks past, making MARTHA smile. Her eyes follow him as he passes.
MARTHA Morning, Sir.
THE DOCTOR slows down a little and answers distractedly.
THE DOCTOR Yes, hi.
He disappears up the stairs.
JENNY Head in the clouds, that one. Don't know why you're so sweet on him.
She smiles slyly then they both carry on scrubbing.
MARTHA He's just kind to me, that's all. Not everyone's that considerate, what with me being--
She points to her face - we assume she means the colour of her skin. JENNY smiles.
JENNY A Londoner? MARTHA Exactly. (She grins) Good old London town!
Two senior boys, BAINES and HUTCHINSON walk over the area MARTHA and JENNY are cleaning, and look back as the girls laugh.
BAINES (authoritatively) Ah, now then, you two.
MARTHA and JENNY stop laughing and look up.
BAINES You're not paid to have fun, are you. Put a little backbone into it. JENNY Yes Sir, sorry, Sir. HUTCHINSON (looking at MARTHA) You there, what's your name again? MARTHA Martha, Sir. Martha Jones. HUTCHINSON Tell me then, Jones. With hands like those, how can you tell when something's clean?
The two boys laugh cruelly and leave. MARTHA and JENNY watch them.
MARTHA (Deadpan) That's very funny, Sir. JENNY Careful now, don't answer back. MARTHA I'd answer back with my bucket over his head.
JENNY laughs as they both go back to scrubbing.
JENNY Oh I wish!
JENNY thinks of something and stops, looking after the two boys.
JENNY Just think though. In a few years time boys like that will be running the country. MARTHA (quieter) Nineteen thirteen. They might not.
In one of the upper corridors, MATRON JOAN REDFERN passes a student.
BOY Excuse me, ma'am.
THE DOCTOR is overloaded with a stack of books as MATRON JOAN REDFERN approaches.
JOAN Oh, good morning, Mr Smith.
THE DOCTOR fumbles with the top book and it falls to the floor. He quickly steps on it to stop it falling away.
THE DOCTOR There we go. JOAN Let me help you. THE DOCTOR No, no, I've got it, no... (He wonders how he is going to pick the book up with his arms full) Um... ah... Just to... retrieve... ah... If you could take these-- (he hands her the stack of books, then bends to pick up the book) JOAN Good. (She smiles warmly) THE DOCTOR No harm done. (He smiles back at her) So, um, how was Jenkins? JOAN Oh just a cold, nothing serious. I think he's missing his mother, more than anything. THE DOCTOR (sympathetically) Aw, can't have that. JOAN He received a letter this morning so he's a lot more chipper. (She looks down at the stack of books she is still holding) I appear to be holding your books.
THE DOCTOR is still staring at MATRON JOAN REDFERN's face, then suddenly snaps back to life.
THE DOCTOR Yes, so you are! Sorry, sorry.
He starts to relieve MATRON JOAN REDFERN of the books awkwardly.
THE DOCTOR Just let me-- JOAN No, why don't I take half? THE DOCTOR Ah, brilliant idea, brilliant. Perfect. Division of labour. JOAN We make quite a team. THE DOCTOR Don't we just.
He is still all smiles, daft in the presence of MATRON JOAN REDFERN.
JOAN So, these books. Were they being taken in any particular direction? THE DOCTOR Yes. Um... (He looks up the corridor, thinking- then turns to the other direction) This way.
Ever the gentleman, he lets MATRON JOAN REDFERN lead on. In another corridor, he has finally settled into a coherent conversation.
THE DOCTOR I always say, Matron, give the boys a good head of steam, they'll soon wear themselves out. JOAN Truth be told, when it's just you and me, I'd much rather you call me Nurse Redfern. 'Matron' sounds rather...well, matronly. THE DOCTOR Ah, Nurse Redfern it is then. JOAN Though we've known each other all of two months, you could even say 'Joan'. THE DOCTOR Joan? JOAN That's my name. THE DOCTOR (Flustered) Well, obviously. JOAN And it's John, isn't it? THE DOCTOR Yes, yes it is.
A wooden noticeboard is on one wall of the landing- MATRON JOAN REDFERN spots a particular notice and heads towards it.
JOAN Have you seen this, John? The annual dance at the village hall tomorrow. It's nothing formal, but rather fun by all accounts. (hopefully) Do you think you'll go?
THE DOCTOR stammers for a moment, unsure how to answer.
THE DOCTOR (flustered) I hadn't thought about it. JOAN It's been ages since I've been to a dance, only no-one's asked me. (she laughs nervously- there is a short tense silence) THE DOCTOR (trying to rescue the conversation) Well, I should imagine that you would be...um...I mean I never thought you'd be one for... I mean there's no reason why you shouldn't-- if you do, you may not...I probably won't, but even if I did then I couldn't....um, I mean I wouldn't want to-- JOAN The stairs. THE DOCTOR It- what about the stairs? JOAN They're right behind you.
THE DOCTOR turns to see and overbalances, falling backwards down the stairs and sending the books flying. JOAN turns away for a split second, but we see her concern.
A little later, JOAN is cleaning a cut on the back of THE DOCTOR's head. He groans against the pain.
JOAN (hiding a smile) Stop it. I get boys causing less fuss than this. THE DOCTOR (sulkily) Because it hurts!
MARTHA bursts in, all concern.
MARTHA Is he alright? JOAN Excuse me, Martha. It's hardly good form to enter a master's study without knocking. MARTHA (a little annoyed) Sorry, right, yeah. (she runs back to the door and knocks it before returning) But is he alright? (she looks at THE DOCTOR) They said you fell down the stairs, Sir.
THE DOCTOR (mumbled) No, it was just a tumble, that's all. MARTHA (to JOAN) Have you checked for concussion? JOAN I have. And I daresay I know a lot more about it than you.
MARTHA remembers her place and nods.
MARTHA Sorry. I'll just... (she looks at THE DOCTOR and moves towards the desk) Tidy your things. THE DOCTOR I was just telling Nurse Redfern-- Matron, um, about my dreams. They are quite remarkable tales.
MARTHA looks up in interest as THE DOCTOR explains to MATRON JOAN REDFERN.
THE DOCTOR I keep imagining that I'm someone else, and that I'm hiding-- JOAN Hiding? In what way? THE DOCTOR Um... er... almost every night... (he laughs) This is going to sound silly-- JOAN Tell me. THE DOCTOR I dream, quite often, that I have two hearts. JOAN Well then, I can be the judge of that.
Reaching into a battered doctor's bag, she draws out a stethoscope with a smile. MARTHA has been watching, but turns and walks away as MATRON JOAN REDFERN places the stethoscope against THE DOCTOR's chest. We hear a heartbeat on the left side of his chest, and MARTHA turns to see the result of the right side. There is nothing.
JOAN I can confirm the diagnosis-- just one heart, singular.
MARTHA seems a little disappointed, but THE DOCTOR laughs at his silliness.
THE DOCTOR I have written down some of these dreams in the form of fiction... um... not that it would be of any interest.. JOAN I'd be very interested.
THE DOCTOR looks in amazement, and MATRON JOAN REDFERN nods. THE DOCTOR stands and moves to the desk.
THE DOCTOR Well... I've never shown it to anyone before.
He hands her a black leather-bound journal, and she reads the handwritten title on the first page.
JOAN 'Journal of Impossible Things'
She turns the pages, and we see they are covered in both writing and ink pictures - the central console is sketched on the first page, then the monitor screen section, a detailed sketch of a gas-mask victim from his earlier encounter with the nanogenes..
JOAN Just look at these creatures!
She turns the page again to reveal a Dalek in all its inked glory.
JOAN Such imagination. THE DOCTOR Mmm. It's become quite a hobby.
More pages, more sketches and pages of writing. The face of the Moxx of Balhoon gives way to a sketch of two Autons, then to the face of one of the clockwork robots that had tried to take the brain of Madame la Pompadour.
JOAN It's wonderful. And quite an eye for the pretty girls.
In the centre of the next page is a sketch of Rose's face.
THE DOCTOR Oh no no, she's just an invention. This character, Rose, I call her, Rose.
MARTHA appears in the background, looking at THE DOCTOR.
THE DOCTOR (thoughtfully) Seems to disappear later on...
Another page, another sketch; this time of a quartet of Cybermen - and in the top corner on the next page, a small sketch of the TARDIS. As THE DOCTOR explains it, there is a bigger, more detailed sketch further down the page.
THE DOCTOR Ah, that's the box, the blue box, it's always there. Like a...like a magic carpet, this funny little box that transports me to far away places. JOAN Like a doorway? THE DOCTOR Mmm.
The next page is a mess of writing, but the pictures stand out brightly - the faces THE DOCTOR has had before.
THE DOCTOR I sometimes think how magical life would be if things like this were true. JOAN If only. THE DOCTOR It's just a dream. (he gives a short, quiet laugh)
The next page has a familiar picture - THE DOCTOR's watch, inside and out.
A school bell rings in the background, and MATRON JOAN REDFERN is leaving THE DOCTOR's quarters with the journal. MARTHA runs to follow her.
MARTHA Ma'am! That book--
JOAN turns round and stops.
JOAN Oh I'll look after it, don't worry. He did say I could read it.
She goes to leave.
MARTHA But it's silly, that's all.
MATRON JOAN REDFERN turns back.
MARTHA Just stories. JOAN (seriously) Who is he, Martha? MARTHA I'm sorry? JOAN It's like he's left the kettle on. Like... he knows he has something to get back to, but he can't remember what. MARTHA (laughs nervously) That's just him. JOAN You arrived with him, didn't you? He found you employment here at the school, isn't that right? MARTHA I used to work for the family, he just sort of inherited me. JOAN Well, I'd be careful. If you don't mind my saying, you sometimes seem a little familiar with him. Best remember your position.
With a nod, she leaves. MARTHA looks unimpressed.
MARTHA Yes Ma'am.
MATRON JOAN REDFERN heads down the stairs while MARTHA strides back to THE DOCTOR's quarters.
In one of the dormitories, a younger boy is called on by HUTCHINSON.
HUTCHINSON Ah, Latimer. Here you are, Latin translation.
He throws a book to the floor, and LATIMER crosses to pick it up obediently.
HUTCHINSON Blasted Kitulus. I want it done by morning. LATIMER Yes sir.
LATIMER sits on his bed an opens the book, starting to work.
HUTCHINSON And no mistakes. I want it written by best handwriting. (He opens a letter and starts to read) Listen, Father says he's been promoted.
BAINES is sitting close by, and raises his head from his own book at this.
HUTCHINSON That means more money. Might end up in a better school. LATIMER Ah, he should enjoy it, sir. My uncle had a six month posting in Johannesburg. Says it was the most beautiful countryside on God's earth. HUTCHINSON What are you talking about? LATIMER (stands up) Africa. Your father. HUTCHINSON You been reading my post? LATIMER What? HUTCHINSON Who said Africa? I've only just read the word myself.
He stands and crosses to LATIMER. Speeding up as he gets closer, he grabs LATIMER by the collar and forces him against the wall.
HUTCHINSON How did you know that? LATIMER I haven't-- HUTCHINSON Have you been spying on me? LATIMER No! I just guessed. HUTCHINSON What's that supposed to mean? LATIMER I'm good at guessing, that's all.
HUTCHINSON gives him a suspicious look that turns to anger, before letting go of LATIMER's collar.
HUTCHINSON Idiot. (he strides away)
LATIMER straightens his jacket and moves slowly back towards the bed.
LATIMER Sometimes I say things and they turn out to be correct. Just little things. Tiny things. I can't help it...it's just some sort of luck.
BAINES and HUTCHINSON look at him for a moment, then BAINES rises to his feet.
BAINES Right, well never mind that little toad, who's for beer? HUTCHINSON You've got beer? BAINES No, but Baxter's hidden a secret supply in Blackdown woods. HUTCHINSON Well what are you waiting for?
BAINES moves to the window and unlatches it, then starts to climb out.
HUTCHINSON Make sure the Burser's down the pub before you go past his window. BAINES A bottle for everyone, is it? HUTCHINSON And none for the filth. (He looks at LATIMER as BAINES climbs out) And hurry back, Baines, I'm parched.
As BAINES salutes and climbs down, LATIMER turns away sadly.
Out in the night, JENNY is sitting on a bench outside the village pub. MARTHA comes out carrying two pints, wrapped up tightly in coat, hat and gloves
MARTHA Ooh, it's freezing out here! Why can't we have a drink inside the pub? JENNY Now don't be ridiculous - you do get these notions! It's all very well those Suffragettes; but that's London, that's miles away. MARTHA But don't you want to scream sometimes, having to bow and scrape and behave, don't you just wanna tell them? JENNY (smiles) I dunno. Things must be different in your country. MARTHA Yeah, well they are. Thank God I'm not staying. JENNY You keep saying that. MARTHA Just you wait. One more month and I'm as free as the wind. I wish you could come with me, Jenny - you'd love it! JENNY Where are you gonna go? MARTHA Anywhere. (looks to the stars) Just look up there. Imagine you could go all the way out to the stars.
JENNY laughs.
JENNY You don't half say mad things! MARTHA That's where I'm going. Into the sky, all the way out.
JENNY laughs again, but MARTHA is fixed on the stars. Suddenly, a green light flares into and out of existence in the night sky. MARTHA is surprised.
MARTHA Did you see that? JENNY See what? MARTHA Did you see it though? (she stands) Right up there, just for a second. JENNY Martha, there's nothing there.
MARTHA is unconvinced.
MATRON JOAN REDFERN is crossing a field alone- suddenly, the green light bursts into life brighter than before, a few metres ahead and hovering in the sky. She shields her eyes, and we see a green beam shining down on her. After a few seconds, the beam goes out, leaving MATRON JOAN REDFERN staring. Turning to look the way she has come, the green beam lights up again, and starts to drift across the countryside before going out again. Spooked by it all, she turns and runs.
A while later, she reaches the pub. MARTHA sees her coming and stands up, aware that the woman is distressed.
MARTHA Matron, are you alright? JOAN (breathless) Did you see that? There was something in the woods... this light...
THE DOCTOR emerges from the pub and approaches the women.
THE DOCTOR Anything wrong, ladies? Far too cold to be standing around in the dark, don't you-- JOAN (interrupts) There!
Pointing into the night sky, we see the light fly over again, like a shooting star.
JOAN There, look in the sky! JENNY That's beautiful. THE DOCTOR There...orgom. Commonly known as a meteorite. It's just rocks falling to the ground, that's all. JOAN It came down in the woods. THE DOCTOR No, no no, they always look close, when actually they're miles off. Nothing left but a cinder. (turns to JOAN) Now, I should escort you back to the school. (turns to MARTHA and JENNY) Ladies? MARTHA (still staring at the sky) No, we're fine, thanks. THE DOCTOR Then I shall bid you goodnight.
Putting on his hat, THE DOCTOR and MATRON JOAN REDFERN walk away back towards the school. MARTHA waits until they are out of earshot.
MARTHA Jenny, where was that? On the horizon, where the light was headed. JENNY That's by Cooper's Field.
MARTHA starts to run in the same direction. JENNY calls after her.
JENNY You can't just run off! It's dark, you'll break a leg!
She sighs, stands up and runs after MARTHA.
In Blackdown Woods, BAINES has found the stash of beer. Picking up a crate, a strange sounds makes him stop. On cue, the strange green light drifts down towards the woodland floor a few metres ahead. BAINES watches, then the light goes out. Curious, he scrambles over a log and heads to where it faded.
BAINES I say, hello? Is that some kind of aeroplane? You chaps alright?
He is cut off abruptly as he walks into a clearing- and headlong into something. A green forcefield flares into life, repelling BAINES. When the forcefield dies down, there is nothing to be seen. Experimentally, BAINES reaches out both hands and pushes them forward until they connect with the forcefield again. As it flares into life, he withdraws them with a gasp. He looks around but can see nothing. He tries the same thing with his fist, but takes it back quickly as the forcefield reacts to the blow.
BAINES What... that's... that's impossible!
He slowly pushes the palms of his hands against the forcefield again, and can see indents that could be windows. Sliding one hand along, it strike a button and there is the sound of a door or airlock opening.
BAINES Some kind of door...Hello? (he shouts into the opening- his shout echoes) Is... Is anyone there?
Stretching his hands out again, he follows them through the door and into the craft.
MARTHA is still running, heading through the woods. JENNY is right behind, and slowly gratefully as MARTHA stops. They are in the same clearing as the craft- but there is nothing to be seen.
JENNY (breathless) There y'are...Nothing there. I told you so. MARTHA And that's Cooper's Field? JENNY As far as the eye can see, and no falling star. Now come on, I'm frozen to the bone, let's go. As your Mr Smith says, 'Nothing to see'.
JENNY turns and strides away, but MARTHA gives one last look before following.
It's dark inside the craft, wires trailing. BAINES is talking.
BAINES But I don't understand. Who are you?
A strange, distorted alien voice replies.
FATHER We are the Family. MOTHER Far more important- who are you, little thing? BAINES My name is Baines. Jeremy Baines. Please can I go? MOTHER I'm so sorry, Baines, Jeremy Baines- but I don't think you can ever leave. BAINES But... Who are you? Why can't I see you? MOTHER/FATHER Why would you want to see us? BAINES I want to know what you look like. MOTHER Oh, that's easily answered- because very soon, we will look so familiar.
Something emerges from the dark, and BAINES screams.
LATIMER is polishing shoes in the dormitory, while the senior boys play a card game at a long wooden table. A clock is striking a late hour.
HUTCHINSON Where is he? Promises us beer then vanishes into the night.
As if on cue, a hand knocks at the window. LATIMER and the other boys look round.
HUTCHINSON There he is. (to one of the younger boys) Let him in.
The BOY goes to the window and unlatches it. BAINES climbs in, and LATIMER looks up, wary.
HUTCHINSON Baines, you dolt. I thought you'd been caught by the rozzers.
BAINES is wide-eyed and blank-faced, and doesn't reply.
HUTCHINSON Well then? Where is it, man? Where's the blessed beer? BAINES There was no beer. It was gone. HUTCHINSON Damn it all, I've been waiting. Pretty poor show, Baines, I have to say.
BAINES sniffs loudly.
HUTCHINSON What's the matter with you? Caught sniffles out there? BAINES Yes, I must have. It was cold. Very cold.
LATIMER keeps looking up, uneasy.
HUTCHINSON Well don't spread it about, I don't want your germs. Come on, might as well get some sleep. (to the other boys) Come on chaps, maybe tomorrow.
BAINES is looking at LATIMER.
HUTCHINSON (continues) Jackson's got some beer in the pavillion.
LATIMER goes back to polishing.
The next day, MARTHA is riding a bike towards an old stone barn near the wood. Pushing open the door, she smiles as she enters. Reaching around her neck, she withdraws something on a long chain round her neck- a TARDIS key, as the TARDIS itself stands further inside the barn. MARTHA unlocks the door and goes in- the console room is mostly in darkness.
MARTHA (she smiles) Hello. (shakes her head) I'm talking to a machine...
Taking off her gloves, she heads for the console. Sighing, she looks up at the time rotor, dormant. Closing her eyes, we see her memories of how they all came to be there-
THE DOCTOR Look out!
MARTHA dives to the floor as a bolt flashes past, creating a fountain of sparks to erupt from the console. In real time, MARTHA walks round the console towards the console screen. Back in her memories, the DOCTOR growls in anger.
MARTHA dives to the floor as a bolt flashes past, creating a fountain of sparks to erupt from the console.
In real time, MARTHA walks round the console towards the console screen.
Back in her memories, the DOCTOR growls in anger.
THE DOCTOR They're following us! They can follow us wherever we go. Right across the universe. They're never going to stop...Martha, you trust me don't you? MARTHA Of course I do- THE DOCTOR 'Cause it all depends on you.
Back in real time, MARTHA reaches the console. In her memory, the DOCTOR is holding his pocket watch in front of her-
THE DOCTOR Martha, this watch is me.
Confused, MARTHA takes it off him as he runs round the console.
MARTHA ...Right, okay, gotcha...No, hold on! Completely lost! THE DOCTOR Those creatures are hunters, they can sniff out anyone- and me being a Time Lord; well, I'm unique. They can track me down across the whole of time and space. MARTHA (laughs) And the good news is? THE DOCTOR They can smell me, they haven't seen me. And their life's bound to be running out- so, we hide, wait for them to die. MARTHA But they can track us down. THE DOCTOR (stops and looks at her, serious) That's why I've got to do it. I have to stop being a Time Lord. I'm gonna become human.
In real time, MARTHA looks up at the TARDIS ceiling- where a strange headset is hanging from a cable. In her memory, the DOCTOR does the same as it lowers into his reach.
THE DOCTOR Never thought I'd use this. All the times I've wondered.. MARTHA What does it do? THE DOCTOR Chameleon Arch. Re-write my biology. Literally changes every single cell in my body. I've set it to human.
Taking the pocket watch back off MARTHA, he fits it into a section of the headset.
THE DOCTOR Now, the TARDIS will take care of everything. Invent a life story for me, find me a setting and integrate me. Can't do the same for you...you'll just have to improvise. I should have just enough residual awareness to let you in. MARTHA But... hold on, if you're going to rewrite every single cell- isn't it going to hurt? THE DOCTOR Oh yeah. It hurts.
Flickering between real life and her memory now- looking up at the headset, it cuts between that and the DOCTOR wearing it, power passing through it and making him scream in pain as MARTHA can only watch in horror. Turning away from the memory, MARTHA activates a few of the controls on the console. The screen fizzes from its normal display to show the DOCTOR, addressing the camera.
THE DOCTOR This working? (taps the camera) Martha, before I change here's a list of instructions for when I'm human. One, don't let me hurt anyone. We can't have that, but you know what humans are like. Two, don't worry about the TARDIS, I'll put it on emergency power so they can't detect it, just let it hide away. Four- no, wait a minute, three. No getting involved in big historical events. Four- you. Don't let me abandon you. And fi-
Twisting a dial, MARTHA speeds through more of the DOCTOR's speech.
MARTHA But there was a meteor, a shooting star- what am I supposed to do then?
She lets go of the dial at the last item on the DOCTOR's list.
THE DOCTOR And twenty three. If anything goes wrong, if they find us, Martha, then you know what to do. Open the watch.
Back at the school, the DOCTOR is heading over to the fireplace in his study.
THE DOCTOR (voiceover from the recording) Everything I am is kept safe in there.
The DOCTOR in the study picks up the watch and looks at it, turning it over in his hands.
THE DOCTOR (voiceover) Now, I've put a perception filter on it so the human me won't think anything of it, to him it's just a watch.
Back on the screen, the DOCTOR is serious.
THE DOCTOR But don't open it unless you have to. Because once it's open, then the Family will be able to find me. It's all down to you, Martha. Your choice.
He walks off-screen- then returns.
THE DOCTOR Oh, and- thank you.
With a smile, the recording stops and the screen returns to its usual display.
MARTHA (in a whisper) I wish you'd come back.
LATIMER is outside a door marked 'J. Smith'. He knocks, the door opens, and the DOCTOR looks at him.
LATIMER You told me to come and collect that book, Sir. THE DOCTOR Good lad, yes.. yes! The Definitive Account of Mafeking" by Aitchison-Price, where did I put it?
He walks to his desk, LATIMER following slowly behind.
THE DOCTOR And I wanted a little word- your marks aren't quite good enough. LATIMER I'm top ten in my class, sir. THE DOCTOR Now, be honest, Timothy. You should be the very top. You're a clever boy, but you seem to be hiding it. (to himself) Where is that book...
With no luck finding the book on his desk, the DOCTOR walks into an annexe libray off the main room.
THE DOCTOR And I know why. Keeping your head low avoids the mockery of your classmates. But no man should hide himself, don't you think?
LATIMER has heard something...
LATIMER Yes sir...
The watch on the mantlepiece seems to be drawing his attention.
THE DOCTOR (off screen) You're clever, be proud of it. Use it.
Over the top of all this, there are whispering voices eminating from the watch. heard only by LATIMER.
VOICES Time Lord...Timothy, hide yourself... I'm trapped, kept inside the cogs...
LATIMER presses the watch's release button- and it opens, releasing wisps of golden energy.
Somewhere out in the grounds, BAINES' head jerks round, catching the trail.
As the DOCTOR comes back into the room, LATIMER quickly closes and pockets the watch.
THE DOCTOR Fascinating details about the siege, really quite remarkable- are you alright? LATIMER Yes Sir. Fine, Sir. THE DOCTOR Right then. Good. And remember- use that brain of yours!
The DOCTOR holds out the book and LATIMER goes to take it- but as soon as he touches it, he sees a vision of the DOCTOR as a different man to the teacher.
VOICES Power of a Time Lord-
The DOCTOR as we know him best, pinstripe suit and weilding his sonic screwdriver. The vision fades as the DOCTOR releases the book, leaving LATIMER shaken.
THE DOCTOR You're really not looking yourself, old chap- anything bothering you, or...? LATIMER (in shock) No Sir...Thank you, Sir.
Walking quickly, he exits, closing the door behind him. LATIMER stands for a moment, before running up the stairs to the dormitory. Sitting on his bed, he has taken the watch out again and can hear the voices. He opens it again, letting out more of the golden light and louder voices.
VOICES You are not alone...Keep me hidden...
More images come to LATIMER's mind- Daleks, Cybermen, Ood, the werewolf from the Torchwood Estate, the Emperess of the Racnoss, Lazarus, the Sycorax- he snaps the watch shut again.
Outside, BAINES sniffs loudly.
A teacher is ringing a handbell, signalling a change in classes. BAINES is walking through the corridors- in a quieter corridor from the main hallway, he stops and turns to look. Stepping into the gap beneath the main stairs, his eyes roll back and a green glow surrounds him- he is communicating with the FAMILY.
BAINES There is a trace, but somehow scattered. The scent is confused. Nevertheless, we'd best arm ourselves.
The glow disappears and BAINES' eyes open.
BAINES Activate the soldiers.
A portly, middle-aged man is striding down a lane in the village. This is MR CLARKE. As he looks into a field, the ragged scarecrow stiffly raises its arm in a greeting. MR CLARKE stops, a double take, as the scarecrow lowers its arm again. Shaking his finger at the scarecrow, believing it to be a trick, he strides towards it.
CLARKE That is my property, and you're trespassing on my land!
He is standing eye-to-eye with the scarecrow now.
CLARKE Come on, who's in there?
Angrily, he starts pulling the straw from the scarecrow's body to try and find the prankster within.
CLARKE One of those idiot boys from the school, is it, eh? Come on, there's-
But he has pulled out almost all of the straw- and his hand has gone through the body of the scarecrow and through the fabric of the back. Rifling through the straw, he looks up at the head, bemused.
CLARKE But how did you-
The scarecrow's head tilts to one side- as two identical scarecrows walk stiffly up the bank behind MR CLARKE. The first scarecrow raises his arms, signalling an attack- MR CLARKE turns and find himself surrounded as more and more scarecrows appear.
A little girl walks down the lane, a bright red balloon in hand. A scarecrow lumbers out from the bushes behind her, and she turns and screams. The scarecrow lifts her over his shoulder and carries her off.
A rattle of gunfire, and a hit on one of three rough dummy targets made of a bucket, spliced sticks and a stuffed sack. The boys are doing target practice, a machine gun set up behind a bunker of sandbags.
THE DOCTOR Concentrate.
MATRON JOAN REDFERN appears from one of the school doors, watching. The gun is being fired by HUTCHINSON, the rounds being fed in a steady stream by LATIMER. BAINES is one of the boys watching the targets, with the DOCTOR standing a few paces behind. As MATRON JOAN REDFERN approaches, she is not entirely pleased with what she sees.
THE DOCTOR Hutchinson, excellent work!
The HEADMASTER appears.
HEADMASTER Cease fire!
HUTCHINSON obeys.
THE DOCTOR Good day to you, headmaster. HEADMASTER Your crew's on fine form today, Mr Smith. HUTCHINSON Excuse me, Headmaster, we could do a lot better. Latimer is being deliberately shoddy. LATIMER I'm trying my best. HEADMASTER You need to be better than the best. Those targets are tribesmen from the dark continent. LATIMER That's exactly the problem, sir. They only have spears. HEADMASTER Oh dear me. Latimer takes it upon himself to make us realise how wrong we all are. I hope, Latimer, that one day you may have a just and proper war in which to prove yourself. Now, resume firing.
HUTCHINSON does so LATIMER feeding the ammunition again. As the firing rings out, LATIMER hears a different kind of warfare- the sound of a falling bomb. An vision takes over.
Two young soldiers struggle through the dark, one supporting the other, who is injured. A watch is opened.
LATIMER One minute past the hour. It's now. Hutchinson, this is the time. It's now.
He looks up as we hear another bomb heading straight for them.
Back in real time, the gun stops firing.
HUTCHINSON There's a stoppage, immediate action. (he looks at LATIMER to assist) Didn't I tell you, Sir, this stupid boy is useless! Permission to give Latimer a beating, Sir? HEADMASTER It's your class, Mr Smith. THE DOCTOR Permission granted. HUTCHINSON Right, come with me, you little oiyk.
HUTCHINSON grabs LATIMER's wrist and pulls him up. He and most of the other boys escort LATIMER away to be beaten. BAINES remains standing next to the DOCTOR, and turns to him- and sniffs loudly. The Doctor turns and looks him up and down.
THE DOCTOR Anything the matter, Baines? BAINES I thought... No sir. Nothing, sir.
Turning sharply, he heads off to join the beating. MATRON JOAN REDFERN is still watching.
HEADMASTER As you were, Mr Smith. THE DOCTOR Ah... Pemberton, Smythe, Wicks, take post.
As three more boys take up positions at the gun, the DOCTOR spots MATRON JOAN REDFERN.
THE DOCTOR Ah, Nurse Redfern. JOAN Um... I'll give you back your journal when next I see you. THE DOCTOR No no no, you don't have to.
JOAN looks a little troubled.
JOAN If you'll excuse me, Mr Smith, I was just thinking about the day my husband was shot.
As the gunfire rings out, she turns and walks quickly away, leaving the DOCTOR a little more understanding.
In the village, a piano is being winched up outside a building in a rope sling. Two men are straining with the rope. MATRON JOAN REDFERN and the DOCTOR are walking through the village.
JOAN His name was Oliver. He died in the battle of Spy-On-Cope. We were childhood sweethearts...But you see, I was angry with the army for such a long time. THE DOCTOR You still are. JOAN I find myself as part of that school watching boys learn how to kill. THE DOCTOR Don't you think discipline is good for them? JOAN Does it have to be such military discipline? I mean, if there's another war those boys won't find it so amusing. THE DOCTOR Well... Great Britain's at peace, long may it reign. THE JOAN In your journey, in one of your stories, you wrote about next year. Nineteen fourteen. THE DOCTOR That was just a dream. JOAN All those images of mud and wire. You told of a shadow, a shadow falling across the entire world. THE DOCTOR Well, then we can be thankful it's not true. And I'll admit mankind doesn't need warfare and bloodshed to prove itself - everyday life can provide honour and valour and... let's hope that from now on this, this country can... can find its heroes in smaller places...
He is distracted as he sees two things- first, a woman and a perambulator coming round the corner by the shop building. Second, the rope sling holding the piano aloft is breaking outside the same shop. The two men holding it desperately try to steady it and hold it, but the woman doesn't notice and continues into its path.
THE DOCTOR In the most...
A young boy is tossing a cricket ball up and down in his hand. The DOCTOR looks from the ball to the rope; the second strand is almost completely broken, and the piano lurches alarmingly.
THE DOCTOR Ordinary...
The rope is almost cut. And the woman is almost beneath the piano.
THE DOCTOR Of deeds!
He snatches the cricket ball from the young boy and pitches it at a bundle of spare scaffolding poles standing outside the ironmongers. The poles fall, hitting a plank of wood with a brick on the end. The brick flies into the air, up and over the piano- just as the rope snaps and it starts to hurtle to the ground. The brick hits a milk churn on a cart, sending it falling into the path of the perambulator and stopping it in it's tracks. The woman screams and the piano hits the floor and smashes. JOAN is looking amazed at the DOCTOR, while the DOCTOR himself is looked amazed by his own skill. As the baby in the perambulator starts to cry, the two workmen rush to see if the woman is alright. The DOCTOR and JOAN stand stunned for a moment.
THE DOCTOR Lucky... JOAN That was luck? THE DOCTOR (plucking up courage) Nurse Redfern, might I invite you to the village dance this evening? As my guest? JOAN (laughs) You extraordinary man!
The both laugh and view the near fatal scene again.
Later on, they are passing fields - one of which has a scarecrow.
JOAN It's all becoming clear now - the Doctor is the man you'd like to be, doing impossible things with cricket balls. THE DOCTOR Well, I discovered a talent, that's certainly true! JOAN (teasingly) But the Doctor has an eye for the ladies! THE DOCTOR The devil! JOAN A girl at every fireplace. THE DOCTOR (laughs) Now, there I have to protest, Joan, that's hardly me! JOAN Says the man dancing with me tonight!
The DOCTOR spies the scarecrow hanging oddly.
THE DOCTOR That scarecrow's all skewed.
The cross the furrows to reach it, and the DOCTOR starts stretching it across its frame again.
JOAN Ever the artist. Where did you learn to draw? THE DOCTOR Gallifrey. JOAN Is that in Ireland? THE DOCTOR (a little unsure) Yes, it must be, yes. JOAN But you're not Irish? DOCTOR Not at all, no. My father Sidney was a watchmaker from Nottingham and my mother Verity was...(he pauses)...um...well, she was a nurse, actually. JOAN Oh, we make such good wives! THE DOCTOR (a little uncomfortable) Really? Right. Yes. Well, my work is done, what do you think?
He stands back and JOAN looks at the scarecrow.
JOAN Masterpiece. THE DOCTOR All sorts of skills today!
Laughing, they head back onto the road- and the scarecrow turns it head to follow them.
In the DOCTOR's study later in the day, the DOCTOR is sketching a young woman- JOAN. As he finishes and lowers the book, we see JOAN posing for him.
JOAN Can I see?
The DOCTOR moves to sit next to her on the sofa, showing her the book. She laughs in delight.
JOAN Oh, goodness...Do I look like that? (laughs) Are you sure that's not me?
The is a sketch of a Slitheen on the opposite page, and she points to it.
THE DOCTOR Most definitely this page, I should think. (he points back to his sketch of her) JOAN You've made me far too beautiful. THE DOCTOR Well that's how I see you. JOAN Widows aren't supposed to be beautiful. I think the world would rather we stopped. (pause) Is that fair? That we stop? THE DOCTOR That's not fair at all.
He fondly brushes the side of her hair. Slowly, he leans in towards her - she returns the movement, and the two kiss.
THE DOCTOR I've never, um...
He runs out of words, and chooses to kiss JOAN again instead, a long and loving kiss. We hear the rattle of the door, and they break apart.
THE DOCTOR Martha, what have I told you about entering unannounced?
MARTHA scurries back out of the door and closes it behind her, leaning against it in shock.
MARTHA (whispered) That wasn't on the list.
The TARDIS still hides in the barn, and MARTHA is going through the DOCTOR's recording again.
THE DOCTOR Four - you. Don't let me abandon you. MARTHA That's no good. What about the stuff you didn't tell me, what about women? Oh no, you didn't think of that. What in hell am I supposed to do then?
She has fast-forwarded to the end.
THE DOCTOR Thank you. MARTHA You had to, didn't you? Had to go and fall in love with a human. And it wasn't me.
LATIMER is toying with the pocket watch as he sits on a bench in the school grounds. The VOICES are whispering again.
VOICES The darkness is coming...keep me away from the force and empty man...the last of the Time Lords, the last of a wise and ancient race...
LATIMER sees Baines heading through the ground to meet with MR CLARKE. Then, a red balloon bobs its way along on the other side of the wall as the little girl joins them. As LATIMER watches, all three of them turn to look at him. As one, they tilt their heads to the side curiously- and sniff deeply.
On the muddy lane, JENNY is riding her bicycle when a figure steps out in front of her, making her stop sharply. A moving scarecrow.
JENNY Who's that playing silly beggars? Nearly broke me neck!
The scarecrow says nothing, its head tilted curiously to one side.
JENNY Who's that then? Is it you, Saul?
The sound of footsteps, and JENNY's smile fades as two more scarecrows approach from behind. More and more close in, and JENNY realises it is no trick- and screams.
Inside the alien craft, a scarecrow stands guard as MR CLARKE advances on a frightened JENNY.
JENNY I don't understand...It's Mr Clarke, isn't it? What have I done wrong? CLARKE Nothing at all. In fact...you're just what we need, girl.
BAINES appears.
BAINES She works at the school. Whatever's happening seems to centred round that establishment, the faintest of traces but they all lead back there. JENNY (scared) It's Baines, isn't it? This isn't very funny, sir. BAINES (barking as orders) Just shut up, stop talking, cease and desist, there's a good girl! (pause) Mother of Mine is dying to meet you. And here she is.
BAINES produces a globe-like device.
JENNY Stop mocking me, sir! BAINES No! Mother of Mine just needs a shape. We go through a shape so very fast. Yours is perfectly adequate...if a little grim. Mother of Mine- embrace her.
BAINES tilts the globe towards JENNY, and a green smoke starts to billow out towards her, taking over her.
In the school, JOAN turns round in her dress to show the DOCTOR.
THE DOCTOR You look wonderful. JOAN You'd best give me some warning - um, can you actually dance? THE DOCTOR (thinks) Um...I'm not certain... JOAN There's a surprise. Is there anything you're certain about? THE DOCTOR Yes. (he steps towards JOAN) Yes.
In the maid quarters, the door opens and JENNY enters. MARTHA is making a pot of tea on an elaborate tray and smiles as she sees JENNY.
MARTHA There you are! Come and look what I've got. Mr Poole didn't want his afternoon tea so cook said I could have it. And there's enough for two.
JENNY is still standing in the doorway.
MARTHA What are you standing there for?
JENNY sniffs loudly.
MARTHA Are you alright? JENNY I must have a cold coming on.
She joins MARTHA sitting at the small table.
MARTHA Problem is, I keep thinking about them but I don't know what to do. JENNY Thinking about who? MARTHA Mr Smith and Matron. Cause it's never gonna last, he's gonna leave in a few weeks. JENNY Why? MARTHA It's like his contract comes to an end. And she's gonna be heartbroken. JENNY Leave for where? MARTHA All sorts of places. I wish I could tell you Jenny, but it's complicated. JENNY In what way? MARTHA I just can't. JENNY It sounds so interesting. Tell me. Tell me now.
There is something in JENNY's voice that MARTHA doesn't think is right. Frowning, she changes the subject.
MARTHA Would you like some tea? JENNY Yes thanks. MARTHA I could put a nice bit of gravy in the pot. And some mutton. Or sardines and jam, how about that? JENNY I like the sound of that. MARTHA Right...hold on a tick.
She KNOWS something is wrong now, and moves to the door. Closing it on her way out, she walks to the stairs- then starts to run. JENNY's head turns, she know's MARTHA is getting away. She pulls an alien gun from under her coat. Meanwhile, MARTHA is out of the building- JENNY goes to the window, aims, and fires her gun at the retreating MARTHA. Narrowly missing, JENNY heads off.
The DOCTOR and JOAN are sharing a loving kiss which is quickly broken as the door bursts open and a breathless MARTHA runs in and up to the DOCTOR.
MARTHA They've found us. JOAN This is ridiculous... THE DOCTOR Martha, I've warned you. MARTHA They've found us, and I've seen them- they look like people, like us, like normal. I'm sorry, but you've got to open the watch.
She looks to the mantlepiece- and the watch is missing.
MARTHA Where is it?
She shuffles through the things on the mantlepiece.
MARTHA Oh my god, where's it gone? Where's the watch? THE DOCTOR What are you talking about? MARTHA You had a watch, a fob watch. Right there! THE DOCTOR Did I? I don't remember. JOAN I can't see what concern it is of yours. MARTHA But we need it... oh my god, Doctor we're hiding from aliens, and they've got Jenny and they've... possessed her or copied her or something and you've got to tell me, where's the watch? DOCTOR Oh I see... (quieter, to JOAN) Cultural differences.
He picks up his journal.
THE DOCTOR (to MARTHA) It must be so confusing for you. Martha, this is what we call a story. MARTHA Oh you complete....THIS (she waves her finger to indicate the DOCTOR) is not you, THIS is nineteen thirteen. THE DOCTOR Good. This IS nineteen thirteen. MARTHA I've sorry, I'm really sorry but I've got to snap you out of this.
She reaches back her hand and slaps his hard across the face.
JOAN Martha! MARTHA Wake up! You're coming back to the TARDIS with me!
She grabs his hands and tries to pull him along.
THE DOCTOR How dare you! I'm not going anywhere with an insane servant! Martha, you are dismissed, you will leave these premises immediately. Now get out!
He has used MARTHA's grip on him to drag her to the door and thrown her out. As he closes the door, MARTHA stops. Back inside, the DOCTOR is annoyed.
THE DOCTOR Nerve of it, absolute cheek! You think I'm a fantasist, what about her? JOAN The funny thing is, you did have a fob watch. Right there. Don't you remember?
MARTHA is running into the night again, and bumps into LATIMER.
MARTHA Oh, sorry!
As she carries on, LATIMER stops and watches her. He has a flash memory of a strange time- it is back around the 2000's, and MARTHA in her usual clothes bumps into him as she runs past.
MARTHA Oh, sorry! LATIMER Martha?
Back to the present, MARTHA turns her head to call back.
MARTHA Not now Tim, busy!
LATIMER watches her for a while longer, then turns and walks away.
MARTHA closes the TARDIS door and runs to where the DOCTOR's long coat is lying over a forked beam. She rifles through his pockets, looking for something.
Back inside the school, the door to the DOCTOR's room is kicked open as JENNY and BAINES enter.
BAINES Mr Smith? (pause) No-one home. JENNY The maid was definitely hiding something. A secret around this Mr Smith. BAINES We both scented him though, he was plain and simple human. JENNY Maybe he knows something. Where is he?
JOAN and the DOCTOR are arriving at the village hall for the dance.
JOAN She's infatuated. You're a dangerous man. THE DOCTOR You've taken my arm in public. JOAN I'm very scared.
They laugh. We see LATIMER hiding round a corner of the building.
MAN Spare a penny for the veterans of the Crimea, sir? THE DOCTOR Yes, of course. (he digs in his pocket and pulls out a coin or two) There you are.
As the DOCTOR and JOAN go inside, LATIMER comes out of his hiding place and creeps to the doors. As the MAN collecting money has his back turned counting the donations, LATIMER hurries in.
Inside, people are milling about, getting drinks from a beer keg, laughing and talking. LATIMER walks in slowly, looking around.
ANNOUNCER Ladies and gentlemen! Please take your partners for a waltz.
The DOCTOR and JOAN take their places, and start to dance as the music starts.
JOAN You can dance. DOCTOR I've surprised myself. (they dance into another pair) Sorry.
Back in his room at the school, JENNY and BAINES are still searching for something- dropping books off the bookshelves in his study. MR CLARKE enters, holding the poster for the dance.
CLARKE I think this might help. JENNY That makes it easy, Son of Mine. Because Daughter of Mine's already there. BAINES We've been invited to the dance.
JOAN and the DOCTOR are still dancing- and through the dancing people, we see the little girl sitting at a table.
The collector MAN rattles his tin as he sees MARTHA approaching stormily.
MAN Ooh, staff entrance I think, miss! MARTHA Yeah, well think again mate.
She walks past him into the hall. Hiding in the foliage close to the hall, we see a number of the scarecrows waiting.
Back at the dance, JOAN is sitting down now, waiting for the DOCTOR to return with drinks. She spots him, and he motions that he is still waiting. JOAN smiles. But her smile fades as a familiar figure stands at their table - MARTHA.
JOAN Please, don't. Not again. MARTHA He's different from any other man you've ever met, right? JOAN Yes. MARTHA And sometimes he says these strange things, like people and places you've never heard of, yeah? But it's deeper than that. Sometimes when you look in his eyes you know - you just know that there's something else in there. Something hidden. Right behind the eyes, something hidden away. In the dark. JOAN I don't know what you mean, I... MARTHA Yes, you do. I don't mean to be rude, but the awful thing is it doesn't even matter what you think. But you're nice. And you're lucky. And I just wanted to say sorry for what I'm about to do.
The DOCTOR has returned, and looks none to pleased to see MARTHA there.
THE DOCTOR Oh, now really, Martha. This is getting out of hand. I must insist that you leave.
MARTHA holds out the sonic screwdriver.
MARTHA Do you know what this is? Name it. Go on, name it. JOAN John, what is that silly thing? John?
He slowly takes it off MARTHA and turns it over in his hands.
MARTHA You're not John Smith. You're called the Doctor. The man in your journal, he's real. He's you.
The collector MAN rattles his tin again as more people arrive.
MAN Evening all! Spare a penny, sir? BAINES I didn't spare you.
Without even looking at him, BAINES pulls out a gun like JENNY had earlier, and fires it at the MAN. As he disintegrates into nothing, BAINEs, JENNY and CLARKE all walk on into the hall.
LATIMER is still inside, walking to a window and pulling back the curtains. The face of a scarecrow pops up and makes him jump back. When he looks back again, it is gone. He lets the curtain fall back.
In the dance hall, CLARKE enters first, gun in hand. Knocking over a hat stand as he strides in, the people shriek and move away.
CLARKE There will be silence! All of you!
Scarecrows file in after BAINES and JENNY.
CLARKE I said silence! ANNOUNCER Mr Clarke! What's going on?
CLARKE turns and fires at the ANNOUNCER, dissolving him into nothing. JOAN's hand stifles a shriek. LATIMER, in a corner, stands up.
MARTHA Mr Smith, everything I told you, just forget it! Don't say anything. BAINES We asked for silence! Now then. We have a few questions for Mr Smith. LITTLE GIRL No, better than that.
She joins BAINES and CLARKE.
LITTLE GIRL The teacher. He's the Doctor. I heard them talking. BAINES You took human form. THE DOCTOR Of course I'm human, I was born human! As were you, Baines. And Jenny, and you, Mr Clarke! What is going on, this is madness! BAINES And a human brain, too! Simple, thick and dull. JENNY He's no good like this. CLARKE We need a Time Lord. BAINES Easily done.
Stepping forward, he raises his gun and aims it at the DOCTOR. The crowd gasps and the DOCTOR recoils backwards.
BAINES Change back. THE DOCTOR I don't know what you're talking about. BAINES Change back! THE DOCTOR (shouting) I literally do not know--
JENNY grabs MARTHA, holding a gun to her head- MARTHA screams.
MARTHA Get off me! JENNY She's your friend, isn't she? Doesn't this scare you enough to change back? THE DOCTOR I don't know what you mean! JENNY Wait a minute... The maid told me about Smith and the matron...that woman, there! CLARKE Let's have you!
CLARKE grabs JOAN and holds her hostage, as JENNY is with MARTHA.
BAINES Have you enjoyed it, Doctor? Being human? Has it taught you wonderful things, are you better, richer, wiser? Then let's see you answer this. Which one of them do you want us to kill? Maid or matron? Your friend - or your lover? Your choice.
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Modalityin scholastic philosophy, means the mode in which anything exists. Kant divides our judgment into three modalities: (1) Problematic, touching possible events; (2) Assertoric, touching real events; (3) Apodictic, touching necessary events. Source: Dictionary of Phrase and Fable, E. Cobham Brewer, 1894 More on Modality from Fact Monster:
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