This episode, though it ends with #2 going off to see #1 (in "Fall Out"), is really just another "Prisoner" episode, in which the stakes (for #2) are just higher than normal - rather than being carted away to some unknown punishment for not breaking #6, he will die (or at least appear to die). Certainly the ending is unusual, but most of the episode isn't that far afield. With minor alterations, the episode could stand by itself, and have been called "Degree Absolute", or something. (Just a comment, really.)

There are a large number of psychological themes running through the last two episodes; McGoohan had a lot to say, and he said it all...

The episode opens with #2 (Leo McKern) arriving, obviously under stress (witness his agitation over breakfast, and 'Rover' in his chair). He speaks with someone on the phone about how he was 'brought back' to have another go at #6, and that #6 will make a better #2 than himself if he can be broken (made to 'be a rat' -- but I'm getting ahead of myself.)

#6 begins the episode with an almost frivolous attitude: [#2: "Why do you care?" #6: "You'll never know"; the apparently pointless badgering of the 'umbrella man']. He seems to take a dark joy from his situation, in his solitary resistance; he has a certain amount of self-assurance (which won't last).

#2's plan is to regress #6 and 'relive' though his life to points at which he has to trust someone (#2) or has some outside (imaginary) stress placed on him to tell. However, #2 must leap so totally into his role of 'authority figure' that he comes to sympathize, and eventually like and admire #6.

After some pseudotechnical mumbo-jumbo, whose only purpose seems to be to show that #2 has powers at hand that he'll shortly use, and to show how deep-seated #6's distaste for his number is, [commercial break] #2 goes to see #6.

#2 visits #6 and places the 'regression machine' (or just 'hypnosis machine') over #6 while he sleeps (#2 sleeps in #6 cottage, singing "Jack and Jill" in Leo McKern's unique style). When #6 awakens the next morning, #2 instructs him (speaking as if to a child (or even a dog) - "Want to go walkies?") to get ready, and then "I'll show you some nice things". They leave, and go underneath #2's residence to "The Embryo Room." They are locked in, and except for 'The Butler', are alone for most of the rest of the episode. There is no evidence that they are being watched. #2 addresses #6 as "my boy", and "son" - forshadowing later roles, and quotes Shakespeare's "all the world's a stage". This room is their stage, to be sure, but I think this quotation has more meaning in that later on, #6 and #2 quote the Bard to each other, when they become equals -- but I'm getting ahead of myself again.

#2 tells #6 that he will find out what is causing #6 to resist (something in his past), and then knowing that, be able to discover why he resigned. Otherwise, death (or "BANG" as #2 puts it). #2 knows that the death may actually be his, but does not tell #6.

Episodes:

Teeter-totter: #2 plays #6's father. They sit on the teeter-totter, and repeat to each other the part of "Jack and Jill" that runs "Jack shall have a new master". #2 calls #6 "Jack" and "Jackie" (btw, a veiled "John Drake" -- Danger Man/Secret Agent Man -- reference? Well, maybe.) The clear intention is that #2 wants to be #6's new master (rather than #6 being his own master). #2 says "Master", "Mother", and "Father", at which #6 jumps off the teeter-totter, causing #2 to sit down rather hard on his end. Here we see #6's sensitivity about (indeed resentment of) his father. #6's oblique references to "pop" later on may also point this way.

#2 and #6 now begin negotiating #2's role, since 'father' obviously won't do. "Brother" says #6, to which #2 replies "Friends" - i.e. #6 wants them to be equals (as they eventually are), whereas #2 requires a 'confidant' roles. They then go on to:

School days: #2 plays 'headmaster' to #6's smart-alecky young schoolboy. When #2 insists that #6 tell him who the 'culprits' are of a talking-in-class incident, #6 refuses, and #2 calls him a fool.

#2: You're a fool!
#6: Yes sir. Not a rat.
#2: A rat?
#6: A rat.
#2: I'm a rat!?!
#6. No sir. I'm a fool. Not a rat.
Here we see #2's first sign of weakness - he feels that he has betrayed himself by working for #1.

#2 then tells #6 that he must conform to be part of society, not be a 'lone wolf'.

#2: You will take 6. [i.e. lashes - British usage. ]
#6: 6?
#2: of the best.
#6: I'm not guilty sir.
#2: 10!
#6: 12.
#2: 12...
#6 12 sir. So I can remember.
... and #6 takes his lashes. But not his number. Note: this "bidding" for lashes is typical English schoolboy bravado -- #6 played his part of the rebel even as a child.

Graduation: #2 praises #6's "progress" as the "prize pupil", and asks him, rather offhandedly, why he resigned. #6 refuses. #2 presses:

#6: I can't tell you that sir.
#2: was it... secret?
#6: secret, sir?
#2: and... confidential?
#6: no sir.
#2: TOP secret?
#6: no sir.
#2: TOP secret?
#6: state secret, sir?
#2: yes!
#6: state secret, sir?
#2: yes, top state secret confidential why why why did you resign?
#6: No! (becomes very agitated)
#2: Boy! Leave school, boy -- no more school... tell me why did you resign?
#6: No!!
(they fight, they roll around on the floor, and #6 is winning)
#6: state...
#2: state...
#6: State ... Confidential ... Secret!
(The butler slugs him from behind)

... Obviously, #6's will to resist is intact, but he is having difficulty. Right up until #2 first asked him the 'why', #6 was willing to go along with the illusion, and became disoriented until he began actually fighting with #2. [Certainly that a secret agent had resigned, and why, would be kept secret, a 'State secret'. Here #6 would seem to be telling the truth.]

#2 and the butler put the unconcious #6 on a table, and what appears to be another version of the 'regression device' is placed over his head. #2's respect for #6 is growing, for he says, "I'm beginning to like him". [commercial break]

Rockinghorse: #6 seems to have been regressed back again to grade-school. He sits on a rocking horse. #2 says "ABCDE", to which #6 replies "12345", but when #2 prompts '6', #2 balks (he says '5' whenever #2 says '6'). They say '6' and '5' back and forth, and then #2 begins to say "6 of 1", to #6's '5', then:

#2: 6 of 1
#6: 5
#2: half dozen of the other (to the tune of 'pop goes the weazel')
#6: pop goes the weazel (same tune)
#2: pop
#6: pop (this 'pop' exchange goes on for a bit)
#2: pop protect
#6: protect?
#2: protect pop
#6: pop
#2: pop protect
#6: pop
#2: protect other people
#6: pop
#2: people need protection
#6: protect other...pop
#2: protect other people
#2: why
#6: pop (this exchange also goes on for a bit, then #6 begins to sing a 'pop goes the weazel')

...then they go back to #6: 'pop' #2: 'why' for a bit. #6 still will not say his number, his ingrained aversion to it remains. Also, I think we can infer that he did not resign to protect other people.

Boxing/Swordfight: #2 once more takes on a fatherly role (indeed, the first word in this scene is 'pop' -- though of course it is also to link it with the previous). He is 'training' #6 to box, but takes on a directly threatening aspect. "I'll kill you, boy!" he says (#2 repeatedly calls #6 'boy', and 'son' in this bit). Although #2 invites #6 to hit him, #6 in general comes off badly. #2 then says: "Take it easy, boy, you're the champ, boy". #6 mumbles some things, including "pop", and "pop goes the weazel", which I cannot make out, then #2 again asks him why he resigned. Although he is again under great duress, he replies, "pop", and slugs #2 (back to Freudianism, #6 is hitting his father).

Then the two are fencing -- again, #2 is instructing #6, calling him 'my boy', and 'young man', and inviting him to 'kill! kill! kill!" (In a telling remark, #2 advises #6 not to "treat it as a game" -- spycraft is often compared to a game.) #6's swordplay, in the end, is better then #2's, and when #6 somewhat tentatively backs #2 against a wall, #2 invites him to kill him, taunting that #6 is "afraid to prove he's a man", by killing #2; that his resignation was cowardice -- #2 again tells #6 he's the 'champ', saying, "...you can do it all, you're the one man band". #2 says that #6 is afraid to kill. When #6 merely wounds him, #6 apologizes. (#6 seems to be apologizing for being unable to kill, rather than for wounding #2.)

#2: You missed, boy. You still... can't... do it.
#6: Sorry... I'm sorry...
#2: Sorry? You're sorry for everybody! Is that why you resigned?

It is a great pity we could not see #6's face when #2 said that -- it would have perhaps settled once and for all the "protect other people" matter. Anyway, #2 is still proceeding under the assumption that #6 is protecting someone.

Interview/Accident/Courtroom: #2 now plays a job interviewer, to whom #6 has come for a job at a bank. A pregnant moment comes when #2 ask #6:

"Why, exactly... do you want this job"

Clearly this is a pseudo-reenactment of #6's original recruitment as a secret agent.

#6 now reacts badly to question "Why do you want this job"; fumbling for an answer -- perhaps he believes his 'job' (secret agent) was a mistake in the first place; or he just is losing his ability to deal with any questions that begin with "why", or perhaps when he was recruited, he was confused when he was offered a cover job first - rather than being directly offered his 'spy-job'. #6's answers are very disjointed, he says he is "good in mathematics"; in any case, he is hired.

#6 then goes on a short 'ride' on a little go-cart, to meet with the "managing director", during which he is really recruited for some secret business. "You're with us", says #2 - that is, with the secret johnnies. As he hears of his recruitment, and how 'secret; top secret; confidential' his task is - and that his bank job is really just a cover, #6 wears an expectant, pleased expression. Clearly, he wanted to be a spy - for the glamor. Indeed, he thanks the "managing director" for the job.

Then he goes for another ride, during which he is in a "car crash." The butler slaps the cuffs on him, and he is taken to 'court'. He is presented with the 'facts' of his having killed several people (or not, the details are not clear) in the midst of some secret-agent business. He refuses to give the court (led by #2 now as 'judge') anything more than a general outline of his status and 'mission'. He says that he, and his mission, is "above the law" (a telling remark -- #2 believes that his business, too, is above the law... this is a comment on how those on "government business" are judged (or wish to be judged) by different standards than normal citizens are.) Again, #6 will not be broken. Trying to live up to his 'cover', #6 mumbles that he is "good with figures". When #2 asks him to list the even numbers, #6 says '2' and '4', but not '6'. When #2 prompts '6', #6 replies, '5; that's me'. However, he is again in difficulty. When #2 presses in again ("You are Number 6"), #6 becomes very agitated.

#2: You are a member (#6 looks up) of the Village.
#6: No!
#2: You a a unit ...
#6: No!
#2: ...of society
#6: NO!!
#2: Contempt.
#6: (looks confused) no.
#2: Contempt of court.
#6: I accept. Acceptable, yes. Thank you.

... So #6 expresses his willingness to pay the price for his individuality. His sentence: "6 days", to which he replies, "I was rebelling against the figures" - which he has been, all along. He appeals, but it is ignored. He's put behind the bars of the cell/truck, and left there. An amusing exchange occurs as he his being placed in his cell:

#6: I appeal against unfair treatment...
#2: You get the same treatment as everybody else
#6: I know, that's why I'm going to appeal.

... either #6 is appealing against his treatment in the Village (in general), or he's still playing his part in the 'courtroom', and is appealing that he, a secret agent, is being treated like an ordinary citizen, rather than the special treatment he is 'due' as a secret agent. [commercial break]

Handcuffs/Jail Cell: After #6 is in jail for his 'crime', #2 sleeps on a table. It is clear that he has had a bad night, and is not doing so well as he appeared to be doing before. #2 has run out of 'roles' for himself and #6 to play, and has not succeeded.

Both #2 and #6 are very near the breaking point -- #2 because he is both frustrated by #6's refusal to break, and because he now sympathizes with #6; #6 has just had too much pressure, and is about to break; but when he does, no one notices.

#2: why did you resign?
#6: for peace
#2: peace?
#6: now let me out.
#2: you resigned for peace?
#6: yes; let me out.
#2: You're a fool.
#6: for peace of mind
#2: what?
#6: for peace of mind!
#2: why?
#6: ... too many people know too much...
#2: ...never...
#6: I know too much...
#2: ...tell me...
#6: ...I know to much ... about you!
#2: no you don't
#6: I do... I know you
#2: who am I?
#6: you are an enemy
#2: I'm on your side!
#6: yes
#2: why did you resign?
#6: you've been told...
#2: tell me again.
#6: yes, I know you.
#2: You're smart...
#6: In my mind...
#2: yes...
#6: in my mind... you're smart!
#2: why did you resign?
#6: there, you see?
#2: why did you resign?
#6: do you know who you are?
#2: who?
#6: a fool
#2: what? no
#6: yes, an idiot
#2: I'll kill you!
#6: I'll die
#2: you're dead.
#6: let me out.
#2: dead.

... #6 rummages in the drawers, and produces a knife, hands it to #2, and invites #2 to kill him. #2 tells the butler to open the cell, then #6 also tells the butler to open it. #2 almost kills #6, but can't bring himself to do it. #6 then drops to the floor and taunts #2 that he can't kill (just as #2 taunted #6 in the fencing episode). #2 says that #6, during the war, "Killed for fun" ("killed for peace?" retorts #6)... [I listened, and listened to this segment over and over again. "Killed the hun" (i.e. Germans) fits more correctly, but it really sounds like "killed for fun".]

Comment: it is my belief that #6 has just told #2 what he (and everybody else) has been trying to find out, but #2 doesn't seem to really notice. Perhaps #2 is so worn down by his own degree-absolute treatment that he cannot really comprehend what #6 has said, or #6 has become so frazzled that he cannot really communicate what he means. I think that following up on the clues "peace of mind", and "too many people know too much" would lead us to the reason #6 resigned, which I believe is that he just got sick of the spy game, that he saw one too many people 'who knew too much' killed or "removed" -- perhaps even to the Village, but we haven't had any direct evidence of that, though #6 has of course met people he knew on the 'outside' in the village.

In any case, #2 has had presented to him one more role-play scheme to try on #6, and so we move to:

In the bomber/German POW:
#2 and #6 are in a bomber, presumably a WWII bomber over Germany. #2 is the pilot, #6 the bombadier. #2 counts, and #6 repeats, down from 12 for bomb release, but #6 will still not say his number in the countdown (he says '5' to #2's '6'). Eventually they reach 0 anyway, but #6 won't release the 'bomb'. #2 says they'll turn around and try again, and on the second go-round, #6 does release his bomb. "Good boy!" crows #2, "Well done!" [ This is certainly a commentary that state-supported violence in wartime is acceptable behaviour; even #6 did it during the war, though on his own, as an agent, he does not.] The 'bomber' is shot down, and #6 is captured by 'the Germans'.

His captivity begins with #2 quoting from a Hitler speech (in German), and then misc. german phrases (anybody have a translation?). #6 protests that he did not wish to kill, that it is "not my fault". [Again, a stab at wartime violence, that absolves the individual from most moral responsibility for almost any act of violence.] #6 taunts back at his captor, repeatedly saying "Zero go", which is the last thing #2 said before #6 was supposed to drop his 'bomb'. Finally, #2 drops his pretense of the POW camp:

#2: I'm a friend.
#6: yes.
#2: Why did you resign? I'm a friend; I'm a friend.
#6: 8.
#2: Why did you resign?
#6: 8. (#6 begins to walk out of the cell.)
#2: why?
#6: 6?
#2: 6?!?
#6: yeah! 4...
#2: no...
#6: 2.
#2: no...
#6: 1...
#2: no...
#6: 0, go...
#2: no...
#6: I'm hungry...
#2: what would you like?
#6: supper...

By the end of this section, #6 has not only recovered himself, after breaking, but become so strong that he can actually say his number, in an offhand way that did not seem possible not so long ago. #2 is out of strength, out of ideas, and very soon out out time.

Reversal/#2's death:
#2 is again on his sleep-table, #6 is speaking to him. They are speaking as equals. #6 is free of the effects of the regression/hypnosis machine and #2's mind-assaults. #6 describes the mechanism #2 has been using on him, and the dangers. #6 begins the reversal with, "Why don't you resign?", to which #2 replies, "You're very good!"

#2: Play something cheerful (to the butler)
#6: I'd like to know more
#2: You will have every opportunity before we are through. Join me! (he heads for the liquor, pours) There we are.
#6: Straight?
#2: One hundred percent proof
#6: No additions?
#2: My word of honor.
#6: Cheers.

Certainly by now #6 is used to being drugged with tainted liquids. A measure of their new equality of role is that #2 gives his 'word of honor' (that is, he stakes his honor on the liquor being clean - though later on, it appears that #2 was 'killed' with something in the liquor, but its never made clear. Certainly #2 drank significantly more than #6) - but the point is #6 believes his assurance.

#6: Mind if I have a look 'round our, uh, home from home?
#2: Not at all! Let me show you around! This delightful residence is known as the Embryo room. In it, you can relive every moment... from the cradle... to the grave...

They then quote back and forth from Shakespeare's "As You Like It", on the Seven ages of man -- with emphasis on death. In any case, they are acting as equals now, #2 doesn't really appear to be in charge of the situation at all.

#2: ....no, there's no way out until our time is up, if we can solve our mutual problems. That will be soon, you can take my word on it.
#6: naturally, I would.

Here again, the adversarial roles that the two have played are gone. Just two chaps having a chat. But that is going to change soon: #6 will become the aggressor.

#2: Let me show you... to the door! We are protected from every intrusion in the most efficient way. No one can interrupt our, shall I say, deliberations. Totally encased in solid steel! Behold... the clock! FIVE MINUTES?!?

... and #2 crumbles. He's lost, and he knows it.

#2: set to open... on a new phase... of our relationship... That is... if we're still here.
#6: are we likely to move?
#2: Its possible
#6: Somewhere nice?

...#6 is taunting #2 here. He's won, and he knows it. #2 goes into the cell, but #6 stays outside. He's about to become the jailer, and #2 the prisoner.

#6: Built in bars...
#2: Also, self-contained. Kitchen... bathroom...
airconditioning... food supplies for six months. It even has a waste disposal unit.
#6: It moves?
#2: Its detachable.
#6: What's behind it?
#2: steel, steel.
... and #6 locks #2 in the cell. The Butler comes over, takes the key, and bows -- to #6.

#2: (laughs) He thinks you're the boss now!
#6: I am.
#2: I'm Number Two! I'm the Boss! Open the door!
#6: Number One is the boss.
#2: No!
#6: Three minutes... you're scared...
#2: no.
#6: You can't take it.
#2: fool!!
#6: Yes. A fool. Not a rat...
#2: You're dead.
#6: Want me to come in?
#2: no
#6: is that what you want?
#2: No, stay away...
#6: Want to come out?
#2: keep out!!
#6: you're mine... (butler comes to open the door)

#2 is the prisoner, a willing prisoner, and #6 is the jailor. There is also an element of physical intimidation -- "you're mine" may also be taken to be #6's intention to beat up #2 -- that appears to be how #2 sees it, but #6 is just stating that he has won.

#2: Stop him!
#6: Two minutes
#2: Stop him!
#6: Two minutes.
(the cell door opens, #6 steps partially in)
#6: You're free.
#2: No... I'm... I'm Number Two!
#6: You are number nothing.
#2: I'm Number Two!
#6: One minute thirty-five seconds.
#2: Why did you resign?
#6: I didn't accept. Why did you accept?
#2: you resigned
#6: I rejected!
#2: you accepted before you resigned
#6: I rejected!
#2: who?
#6: you
#2: why me?
#6: why me? (#6, quick and sardonic, turns his own question on #2)
#2: not all...
#6: not all...
#2: Humpty
#6: Humpty Dumpty
#2: All the King's horses
#6: All the King's men!
#2: that's right...
#6: couldn't put humpty together again
#2: what? ... one minute ... to go...
#6: 59 seconds... 58 seconds (#2 falls out of the cell, goes over to the butler - he appears to have somewhat lost track of what's happening. He starts out trying to puff himself up to the only audience available -- the Butler.)
#2: I'm big...
#6: 57
#2: now you're tall (#2's quickly self-built defense collapses again)
#6: 56.. 55
#2: you're a good lad
#6: 54
#2: oh god
#6: 53
#2: you're for me
#6: 52 51 50 49 48
#2: why?
#6: 47
#2: why?
#6: 46
#2: why resign?
#6: 45
#2: why me?
#6: 44
#2: why me?
#6: 43
#2: I'll tell
#6: 42
#2: I'll tell you anything
#6: 41
#2: anything you want to know
#6: 40
#2: I'll tell
#6: 39
#2: I'll tell
#6: 38
#2: I'll tell
#6: 37
#2: still time
#6: 36
#2: still time
#6: 35
#2: I... not too late...
#6: for me? (in a high, screechy, paranoid voice)
#2: for me!
#6: you snivel and grovel...
#2: I ask...
#6: you crawl... (and so he does)
#2: yes, look
#6: to ask?
#2: yes to ask
#6: why? (#6's victory is complete. Now he's asking why. A thoroughly retched #2 lunges at #6)
ask on... ask... yourself!
#2: why? why then?
#6: 15
#2: please
#6: ... don't say please.
#2: I say it.
#6: don't.
#2: please, I plead!
#6: 9
#2: too late
#6: 8
#2: 7
#6: 6
#2: 6
#6: Die Six! Die! (Absolute Reversal - #6 is told to die, but #2 dies.)
#2: 5
#6: die
#2: 4
#6: die
#2: 3
#6: die
#2: 2
#6: die
#2: 1
#6: die
#2: Zer..
#6: die

... and so he does. Notice that the "die"s become fairly distorted (that is, it doesn't sound much like McGoohan's voice) -- perhaps we are hearing the words as #2 hears them, as he is overcome by whatever it is that kills him. #6's "don't say please" is an interesting remark. It implies that #6 would have told the "why's" if he had just been asked before being brought to the Village. (In fact, he already has -- in his resignation letter; its just that the 'powers that be' don't believe him.)

Ending:
The 'supervisor' comes in when time is up, and says "Congratulations". Up to this point, this could be a normal Prisoner episode (in as much as any episode is 'normal'). #6 could have been returned to the Village, and roll credits. Indeed, that appears to be what #6 is expecting. When the supervisor prattles on about #2's body, #6 becomes very agitated. He breaks his glass, it is only then that he is asked "What to you desire". Having survived #2's assaults, this complete change in the attitudes of Village personel has left him on the ragged edge of sanity. "#1", he says. To which the Supervisor replies, "I'll take you". And off they go, leaving #2's body behind.

So ends "Once Upon a Time". #6's state of mind is important. He has survived his ordeal, but now his world-view (himself as rebel, and prisoner) is being turned upside down. He is very confused, and will take refuge in a paranoid detachment. Every time he leaves that state of mind (in "Fall Out"), he'll be turned on his head again.

Copyright 1990, 1994, 1998 by Charles McGrew, all rights reserved.

Permission granted to distribute freely as long as article is kept intact and no money is charged for distribution; and my name is kept on it.