How It Was in the Autumn of 2002 – and How It Is Now

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Fox presenter. Don’t we know – I think we heard about this last week – Saddam has mobile labs – and we do too, we can check this stuff right away, the CIA certainly think so… And now with us is retired colonel David Hunt. David, you have – don’t you – an interesting theory why we are not just going in and blowing up Al Jazeera television?

Yep. The TV is specific to the erm – erm – a day care centre. It’s inside.

So the antenna is – ?

Everything’s inside the building – basic – we could – because it – because of it – because the Kuwaitis realised that – they know that we’re improving – they move things like that inside places like day care centres and old people’s homes. That’s – that’s a restricted building. Specific piece of equipment. It’s inside something we can’t get at with a cruising missile. And there’s a change – a change in the American public – it’s – it’s no longer a video game. And in the last war we fought – millions of us were watching this television and going Oh that’s kinda fun. We’re having a good time. And it was kinda exciting. Until something tragic happens – and that’s one part – and it changes our lives forever. And our weapons get better every time, until the next time.

And the next time could be tomorrow?

Sure.

And we know where the people are that we want to take out?

Yeah. What we – what we look like we will do – it’s brilliant – it’s – we’ll bomb ’em. We can take out a building, and leave the next one to it standing, even the lights stay on. And we know pretty much where they are. The people we’re talkin’ to. Brilliant. So we bomb ’em. And then we give ’em a call. And they say Not yet. And we say OK. What d’ya wanna do? And we bomb ’em again and we ask Had enough? And they say Not yet. So we bomb ’em again. It’s amazing.

Yea. Amazing. Thanks for joining us.

Thanks for asking.

So there it is folks. Remember, you heard it first on Fox. And we’re not afraid to tell the world who’s side we’re on. Balanced, objective. We report and you decide.

And the child watched hour on hour, day on day. And the father watched. And the mother, and the soldier and the priest and the poet. The electrons and the proteins and the vitamins, and the fluids, and the memories, and emotions, and the fears, and the hates, and all that formed the producer’s thoughts, and the thoughts of the link man, and those of the editor and the writer. All merged to a line of light across a teleprompter and a string of words into the ear of the link man. And the words and the images and the fear that they roused deep from the psyches of the watchers, all came out of a man. Across the space between, into the pupils and ears and the mind and the cortexes of the ones who sat and watched, who worked and watched. And then into the eyes of those who really did not watch, for their minds they thought to be elsewhere, and yet their real minds were open, welcoming the words that entered their eyes from across the great flowing glowing screens above the central city squares. And the words entered the corners of their eyes as they walked and drove. And a man paid the company that employed the people who employed the man who designed the commercials; and he paid the lady who wrote the script; and he paid the actors and the make-up girls; and the producer and the technician and the cameraman and the man who spoke the words into the camera. And when all broke away the commercials rolled.

And the man who checked the ratings spoke onto the man who paid all of them. And the man who paid all of them was the man who made the product that was mentioned in commercials. And he saw that all was good.

New York. Main street. Taxis whiz along. Tyres bounce and squeeze and bounce. Steam from dawn opened sewers. Rising. Never sleeps. City never sleeps. Dawn. In the shadows, between the sky-scrapers. Man walks. Tall man. A tall, handsome man walks to his place of work.

From transcripts from Fox News Channel, Autumn 2002 and January 2003.