#Giles Foster

[undinecissy]

I believe he took this picture when he filmed Dutchgirls（1985）.

James Wilby as Philip Dundine in film, Dutchgirls（1985）. "A lovely thing which was written by William Boyd, " says James, in his BFI interview "The Reflection on Maurice" , 2018.

[mariocki]

Six Plays by Alan Bennett: All Day on the Sands (1.6, LWT, 1979)

"Look at the level of that sauce. Only started yesterday, it's gone down dramatically. I'm under no compulsion to provide sauce. Lathering it on. It's not as if my cooking needed sauce!"

"Make it available on request. Sauce available on request, that'll bring them to a sense of responsibility."

"Wouldn't care, but they go at the salt and pepper like lunatics. You'd think they'd never seen a cruet in their lives."

[motionpicture-lover]

"Oliver's Travels" (1995)

Films and series I've watched in 2023 (9/?)

Full series (5 episodes. The picture quality isn't the best but if you can get past that it's very well worth a watch):

[claudia1829things]

"SILAS MARNER" (1985) Review

"SILAS MARNER" (1985) Review

I have seen a handful of television and movie adaptations of novels written by George Eliot. But the very first adaptation I ever saw was "SILAS MARNER", the 1985 version of Eliot's third novel published back in 1861. My recent viewing of the production led me to reassess it.

"SILAS MARNER" begins with an English weaver living with a small Calvinist congregation in Lantern Yard, a slum street in a Northern England city. His life falls apart when he is framed for stealing the church's funds, while watching over the congregation's ill deacon. Worse, his fiancee leaves him for his so-called best friend, the very man who may have framed him. Shattered and embittered, Silas leaves Lantern Yard and arrives at a rural village in the Midlands called Raveloe. Although he resumes his trade as a weaver, Silas' traumatized past leads him to achieve a reputation as a miser and a loner in the community.

Silas' move to Raveloe eventually leads him to cross paths with the community's leading citizens, the Cass family. The head of the latter is the elderly Squire Cass who has two sons - Godfrey and Dunstan. Godfrey, who is the squire's heir is secretly married to one Molly Farren, a lower-class woman and opium addict from another town, who has given birth to his young daughter. Godfrey is also engaged to a young middle-class woman named Nancy Lammeter. Dunstan is a dissolute wastrel who constantly loses money via excessive gambling. One night, a drunken Dunstan breaks into Silas' cottage, steals the gold coins that the latter has been hoarding and disappears. Through a series of events, Molly plots to expose her marriage to Godfrey and their child during the Cass family's New Year party, but dies in the snow before she can reach it. Silas, who is emotionally upset over the loss of his coins, finds both the dead Molly and the child. Although he informs the partygoers of Molly's death and the child, he assumes guardianship of the latter (renamed Hephzibah "Eppie"), much to the relief of Godfrey, who can now legally marry Nancy. All goes well until Godfrey and Nancy's failure to have children threaten Silas' newfound happiness as Eppie's father years later.

What can I say about "SILAS MARNER"? I can honestly say that it was not one of the best adaptations of a George Eliot novel. Then again, I do not consider the 1861 novel to be one of her best works. I realized that Eliot had set the story either around the end of the 18th century or around the beginning of the 19th century. It was her prerogative. But both the novel and the movie seemed to reek of Victorian melodrama that I found myself feeling that Eliot or any adaptation could have set the story around the time it was originally written and published - the mid 19th century. The story is, at best, a good old-fashioned Victorian melodrama. I would never consider it as particularly original in compare to the likes of "MIDDLEMARCH" or "DANIEL DERONDA".

"SILAS MARNER" tries its best to be profound on the same level as the other two Eliot stories I had mentioned. But I had a few problems with the narrative. What was the point behind Dunstan Cass' disappearance and theft? Yes, he stole Silas' hard earned money before he disappeared. I got the feeling that the stolen coins seemed to serve as a prelude to Silas' emotional attachment to Eppie. But why have Dunstan take it? How else did his disappearance serve the story . . . even after his dead remains were found close by, years later? In Eliot's novel, the discovery of Dunstan led brother Godfrey to form a guilty conscience over his own secret regarding young Eppie and confess to his wife. But in the movie, it was Godfrey and Nancy's inability to conceive a child that seemed to finally force the former to confess. Unless my memories have played me wrong. Frankly, Dunstan struck me as a wasted character. Anyone else could have stolen Silas' money.

I also noticed that Giles Foster, who had served as both screenwriter and director for this production, left out a few things from Eliot's novel. I have never expect a movie or television to be an accurate adaptation of its literary source. But I wish Foster had shown how Eppie's presence in Silas' life had allowed him to socially connect with Raveloe's villagers. Eliot did this by allowing her to lead him outside, beyond the confines of his cottage. The only person with whom Silas managed to connect was neighbor Dolly Winthrop, who visited his cottage to deliver him food or give advice on how to raise Eppie. I also noticed that in the movie, Silas had never apologized to another villager named Jem Rodney for his false accusation of theft. And Jem had never demanded it. How odd. I also wish that Foster could have included the segment in which Silas had revisited his former neighborhood, Lantern Yard. In the novel, Silas' visit revealed how the neighborhood had transformed into a site for a factory and its citizens scattered to other parts. Silas' visit to his old neighborhood served as a reminder of how his life had improved in Raveloe and it is a pity that audiences never saw this on their television screens.

Yes, I have a few quibbles regarding "SILAS MARNER". But if I must be really honest, I still managed to enjoy it very much. Eliot had written a very emotional and poignant tale in which a lonely and embittered man finds a new lease on life through his connection with a child. Thanks to George Eliot's pen and Giles Foster's typewriter, this story was perfectly set up by showing how Silas Marner's life fell into a social and emotional nadir, thanks to the betrayal of a "friend" and the easily manipulated emotions of his neighbors.

Once Silas moved to Raveloe, the television movie did an excellent, if not perfect, job of conveying how he re-connected with the world. It was simply not a case of Silas stumbling across a foundling and taking her in. Even though he had formed a minor friendship with Mrs. Winthrop, having Eppie in his life managed to strengthen their friendship considerably. The movie's narrative also took its time in utilizing how the Cass family dynamics played such an important role in Silas' life in Raveloe. After all, Godfrey' secret marriage to Molly Farren brought Eppie into his life. And Dunstan's theft of his funds led Silas to re-direct his attention from his missing coins to the lost Eppie. And both Godfrey and Nancy Cass proved to be a threat to Silas and Eppie's future relationship.

The production values for "SILAS MARNER" proved to be solid. But if I must be honest, I did not find any of it - the cinematography, production designs and costume designs - particularly memorable. The performances in the movie was another matter. "SILAS MARNER" featured solid performances from the likes of Rosemary Martin, Jim Broadbent (before he became famous), Nick Brimble, Frederick Treves, Donald Eccles, Rosemary Greenwood; and even Elizabeth Hoyle and Melinda White who were both charming as younger versions of Eppie Marner.

Angela Pleasence certainly gave a memorable performance as Eppie's drug addicted mother, Molly Farren. Patsy Kensit not only gave a charming performance as the adolescent Eppie, I thought she was excellent in one particular scene in which Eppie emotionally found herself torn between Silas and the Casses. Freddie Jones gave his usual competent performance as the emotional Squire Cass, father of both Godfrey and Dunstan. I was especially impressed by Jonathan Coy's portrayal of the dissolute Dunstan Cass. In fact, I was so impressed that it seemed a pity that his character was only seen in the movie's first half.

I initially found the portrayal of Nancy Lammeter Cass rather limited, thanks to Eliot's novel and Foster's screenplay. Fortunately, Nancy became more of a central character in the film's second half and Jenny Agutter did a skillful job in conveying Nancy's growing despair of her inability to have children and her desperation to adopt Eppie. I thought Patrick Ryecart gave one of the two best performances in "SILAS MARNER". He did an excellent job of conveying Godfrey Cass' moral ambiguity - his secrecy over his marriage to Molly Farren, the passive-aggressive manner in which he "took care" of Eppie through Silas and his willingness to use Eppie as a substitute for his and Nancy's failure to have children. Ryecart made it clear that Godfrey was basically a decent man . . . decent, but flawed. The other best performance in "SILAS MARNER" came from leading man Ben Kingsley, who portrayed the title character. Kingsley did a superb job of conveying Silas' emotional journey. And it was quite a journey - from the self-satisfied weaver who found himself shunned from one community, to the embittered man who stayed away from his new neighbors, to a man experiencing the joys and fears of fatherhood for the first time, and finally the loving man who had finally learned to re-connect with others.

Overall, "SILAS MARNER" is more than a solid adaptation of George Eliot's novel. I did not find its production designs particularly overwhelming. I did enjoy Eliot's narrative, along with Giles Foster's adaptation rather enjoyable . . . if not perfect. But I cannot deny that what really made this movie work for me were the first-rate performances from a cast led by the always talented Ben Kingsley. Victorian melodrama or not, I can honestly say that I have yet to grow weary of "SILAS MARNER".

[cannibalguy]

“Cannibal chocolates”: CONSUMING PASSIONS (Giles Foster, 1988)

Consuming Passions is a black-comedy film directed by Giles Foster (Hotel du Lac). The film is based on the stage play Secrets by two of the Monty Python greats, Michael Palin and Terry Jones, which was filmed and shown on the BBC in 1973. This is what I call entrepreneurial cannibalism, with a subgroup of accidental or fortuitous circumstances. A chocolate factory is preparing to launch a new…

[mr-rupurr-giles]

My dog is snoopy. Btw those plastic kid chairs my mom put there are supposed to prevent him from lying on the futon. Welp.

Also Harry is 3 years old today!

Happy Birthday, Harry!!! 🎉🎊🥳🎈

[j-goffik]

weird white dude alignment chart

i don’t know what this trope is so for now i’m just calling it “you wouldn’t hit a guy with glasses, because he’d kill you”

[lifewithchronicpain]

Giles watching the kittens play. He doesn't like being jumped on but he loves to watch them do their thing.

[celticwoman]

Northanger Abbey (2007) dir. Jon Jones, Giles Foster

[beggars-opera]

Hi, Salem Massachusets is a really fun place to visit, but while you’re listening to the accordion-playing werewolf and eating your caramel apple, please also remember the names of the people who died there in 1692-3, most of whom were executed by a corrupt justice system for a crime that didn’t actually exist:

Bridget Bishop

George Burroughs

Martha Carrier

Giles Corey

Martha Corey

Lydia Dustin

Mary Eastey

Ann Foster

Sarah Good

Unnamed infant of Sarah Good

Elizabeth Howe

George Jacobs

Susannah Martin

Rebecca Nurse

Sarah Osborne

Alice Parker

Mary Parker

John Proctor

Ann Pudeator

Wilmot Redd

Margaret Scott

Roger Toothaker

Samuel Wardwell

Sarah Wildes

John Willard

There are two memorials in town, one at the Charter Street cemetery, and the other at the site of the executions on Pope Street. Please visit them.

[undinecissy]

James Wilby as Philip Dundine in film, Dutchgirls（1985）. "A lovely thing which was written by William Boyd, " says James, in his BFI interview "The Reflection on Maurice" , 2018.

[whencyclopedia]

Aethelred, Lord of the Mercians

Aethelred ruled as Lord of the Mercians from c. 881 to 911 and was a key military leader in the fight against Viking conquest and settlement in England. To defend Mercia, he allied himself to the powerful Kingdom of Wessex under the leadership of Alfred the Great (r. 871-899) and later married Alfred's daughter, Aethelflaed, to strengthen their alliance.

Today, Aethelred is primarily remembered as King Alfred's dutiful son-in-law or as the husband of the celebrated Aethelflaed, Lady of the Mercians. However, he was an important historical figure in his own right, who led Mercia during a time of intense conflict and transformation, which lay the foundations for the unification of England that would be completed in 927 by Aethelred's foster son, King Aethelstan (r. 924-939).

Historical Sources & Modern Depiction

Aethelred's life is documented in several contemporary sources. The Anglo-Saxon Chronicle, a chronicle recorded at Alfred's court in the 890s, and Bishop Asser's Life of King Alfred, a contemporary biography of Alfred, provide key but limited details on Aethelred's life, including his relationship with Alfred and his military campaigns. Additionally, several of Aethelred's land charters still exist, providing valuable records of his land and property transactions and his interactions with the Mercian clergy and nobility. We are also aided by the Fragmentary Annals of Ireland, a series of later medieval Irish chronicles. These annals provide insight into the later years of Aethelred's life, which were marked by illness and Mercia's defence against Norse-Irish Viking raids in Britain.

Interest in Aethelred has grown in recent years, primarily due to Toby Regbo's portrayal of him in the TV show The Last Kingdom (2015-2022), in which he is depicted as an incompetent and cowardly ruler who resents his wife. However, Bernard Cornwall – the author of The Saxon Stories, on which the show is based – admitted his portrayal of the Mercian leader was unfair to the real historical Aethelred. From the limited source material on Aethelred and his character, we see a courageous soldier and capable ruler who enjoyed a healthy relationship with Aethelflaed and was remembered by medieval chroniclers as a "man of distinguished excellence" and a "valorous earl" (Forester, 89 & Giles, 239).

Continue reading...

[grogusmum]

I don't want to be a wet blanket, I love Halloween in pretty much all its ways of being... but when the decorative merch, t-shirts, etc, come out each year with the "witch this," "salem that" all emblazoned with "est 1692"...

Well, it always sort of leaves a bad taste in my mouth... because in the village in that year something really horrible happened.

Whether because of politics, land grabs, ageism/sexism, personal vendettas, economic competition, or ergot poisoned rye grain causing hallucinations and faulty thinking, it was all wrapped up in religious zeal and innocents were murdered.

So, every year at our Samhain program, I say their names and light a candle.

Bridget Bishop Age: 50s

George Burroughs Age: 42

Martha Carrier Age: 33

Martha Corey Age: 70s

Giles Corey Age: 70s

Lydia Dustin Age: 60s or 70s

Mary Easty Age: 56

Ann Foster Age: 70s

Sarah Good Age: 38

Elizabeth How Age: 50s

George Jacobs Sr. Age: 80s

Susannah Martin Age: 71

Rebecca Nurse Age: 71

Sarah Osborne Age: 40s

Alice Parker Age: not known

Mary Parker Age: 55

John Proctor Age: 60

Ann Pudeator Age: 70

Wilmott Redd Age: 50s

Margaret Scott Age: 77

Roger Toothaker Age: 58

Samuel Wardwell Age: 49

Sarah Wildes Age: 65

John Willard Age: 20s

I say your names and honor you today.

[c-rose2081]

Do the lottery kids have destinies that they would have followed before the books were shelved? For example, would Marie's destiny have been to write Frankenstein, or is she like the Giles and Milton Grimm?

Lottery students don’t necessarily have destinies to fulfill, that’s what the lottery program is for :)

Ever After High only ever picked students that had destinies to follow in the book, which is why destiny mattered so much.

The lottery program was made post book to help fill the halls with a more diverse array of students that aren’t necessarily tied to a destiny or the storybook of legends. The school is now focused on fostering education, relationships, and readying students to face the world (be it for the sake of their kingdoms, their future stories, or just in general). Some lottery students are/can be connected to destiny, like Royelle, but others like Marie are just there to learn and help the school itself change and become something for all instead of just a few.

It doesn’t mean they can’t have a story to tell, Marie absolutely could write Frankenstein (probably inspired by her own life poor thing), but it’s not necessarily destiny at play like it was when the book was still open.

(I’ve also chosen to design characters inspired history cause it’s a little easier to tie in those extra details to get the EAH aesthetic outside an actual fairytale)

[mr-rupurr-giles]

Thadeus is a talkative boy but he tends to get quiet when he notices the phone. So I can’t capture exactly how chatty he is, still here is a small sample:

[estinininininen]

FFIV: Delicate Flower, "Rose of the Moon", part 2/2, (ao3), ~2800 words. (Part 1 tumblr)

Kain Highwind is a little older now, and realizes paladins, white mages, and love can all be far stranger - and messier - than he thought.

WARNING: Graphic injury. Graphic. Don't ignore the warning.

Kain never got to speak again to Rosa that day, but this was not the end of the world. Life continued. Kain realized that he shouldn't listen to the part of him that called that day the worst of his life so far. He learned a lot from that day.

Kain spent more time listening to others when they told him things he didn't want to hear. He did not need Sir Halbright to force him up at the crack of dawn to train, and even tailed after Sir Halbright in meetings when he could. He studied under him for practical reasons, as one day the command of the dragoons would pass down to Kain.

Kain also worried that there was something inside people like Halbright, Giles, Rosa, and by all accounts his father, that he and Cecil lacked, Kain moreso. He wanted to absorb it by watching. He did not know the word for it. It floated somewhere between focus, integrity, and calm.

Cecil and Rosa were dating and that, he told himself, was good. It was fine. They were cute together. Cecil had more important things on his mind and needed support from both Rosa and Kain. The King did not fulfill Kain's deepest anxiety and disown Kain and dissolve the dragoons forever more for his bad showing. In fact he spoiled Kain a bit after his injury. Kain was relieved, and felt for the first time that Odin might understand Kain more than he had known.

Giles had been right about the King: what he asked of Cecil had been a passing fancy. The airships, the strange swords: these had been the aborted beginnings of Odin's attempt to reduce Baron's military. It was a noble if idealistic dream: What if there was one day a strong warrior-king, who risked himself before others, able to travel the world at a moment's notice? Perhaps the ever-grinding war machine that formed the backbone of Baron's culture and economy would not have to exist.

This had backfired on the King. Odin could not maneuver the merchants and warriors of Baron into following a song of peace instead of war. The very dragoons Kain was the ascendant lord of would not accept a lessened role in Baron. Nor would Kain in his heart, even if he heard logic from Odin at dinner table discussions. Other countries worried at the air force and these new "Red Wings." They were more comfortable with Baron's army as the traditional, landlocked force, protecting the crystals only if called. They had since time immemorial, why change?

Kain drifted away from the King as foster-father, as he and Odin had reached an understanding they were more liege-lord and knight-vassal than family. Odin was not ever going to be Kain's father. There was calm discussion and little drama about it. Odin was proud of him, Kain knew. Kain more worried about Odin telling Cecil that.

As the years passed, Odin and Cecil's relationship grew closer and yet more fraught. Cecil pushed himself beyond what even Odin and all teachers asked from him. Odin would then let Cecil recover for months, trying to spend time with Cecil more as a father than liege-lord. Contrary to expectations for a boy raised as a prince in all but name, Cecil did not enjoy this coddling. He was becoming a man suited for action, and without the very same skill that was driving a wedge between him and Odin, he felt less useful. Kain suspected no one besides Odin's closest advisors and friends even knew, or felt they had the right to ask: Did the King regret asking Cecil to . . . ?

The matter of the royal inheritance had crept up over the years as Odin failed to marry. Odin, Cecil, and Kain had ignored it for more than a decade out of love. As Kain came of age he found it was decided in everyone else's thoughts before the three had even realized. Outsiders murmured to Kain their surprise he was not more jealous of Cecil. Kain was, but he also knew he would be a terrible king, and he would not wish Cecil's current burden on anyone. And there was also the biggest lesson he had learned at that tournament.

Life was not like a chivalric romance. Good people did bad things.

Kain could not say when he realized the King had asked Kain and Cecil to be dark knights without explaining the cost. It just flowed out from that sunny first day of June. He grew a more natural awareness of how adults hid secrets from each other, instead of the mustache-twirling villains of his past imagination. Real life did not have childish expressions of pure evil.

And yet . . .

Kain still cherished a sliver of that old magic in the stories and culture Odin now wanted to weaken in Baron. There were important truths in glory and romance, Kain still felt, and the most important was what was worth fighting for. A beautiful woman. Childhood friendship you remembered, even if you all drifted apart. A king worth serving. People worth saving, if you were not worth saving yourself.

Such lessons Kain thought he had learned, and that the King and Cecil had also learned similar things. Enough they should have avoided what happened later.

Then the King went mad. Or perhaps he had already died and they didn't know.

Kain almost saved Cecil from dishonor and demotion. He almost piped up to say the Mist dragon seemed not to be a true enemy. He almost reached close enough to Cecil and Rydia when the eidolon Titan erupted from the earth. He almost escaped his own madness. He almost broke free of it, in Fabul. He almost got Rosa out of Zot, then was almost cleared of Golbez's influence for a time. He almost resisted in the Sealed Cave, and he almost didn't hurt Cecil.

By the time Kain slipped free again, he was tired of 'almosts.' He wanted certainty, the certainty he couldn't find in himself. If he turned to his old understanding of the world, he would be the villain, the blackguard children hissed at in puppet shows. Cecil had changed, changed into more legend than man, a half-Lunarian paladin. Redeemed. Filled with the nameless strength of character Kain realized he had lacked. Compared to Kain he was as distant as the moon from the earth. There was only one constant left:

Rosa.

Until, that is, he learned she was never what he thought in the first place.

----------

They had been lucky in the Lunar Subterrane until Edge found the dark shadow of Bahamut. Luck tended to run out when everyone was blasted point-blank without warning by a wall of dragonfire. Kain only escaped because he was ready to Jump anyway.

He looked down from the air to see four prone forms. All four were knocked out with pain or because their airways were burnt. Clock was ticking. "Shit shit shit shit shit," he said.

Never take a chance to strike for granted, though. At the apex of his jump, he flipped into the classic headfirst dragoon attack now as easy for him as walking. As he twisted, he reached into the emergency-of-emergencies bundle tucked into his breastplate. He grabbed it, a folded, thin white handkerchief. Grey with age and stained, and with young Rosa's attempts at embroidery. One of dozens the group shared now without thinking.

He shoved it his mouth, knifing down through the air, and braced for impact with both hands on the holy spear. This was what he did. This was what he was for, the only thing men like him were good for- no time to think. Distraction killed. With no other target, Kain aimed for the eye. It was wide enough to stand on.

Hit. Clean, deep, and retractable for an easy retreat. He tried not the think about the sound the lens made as it crunched. Kain had no time for thinking. He withdrew the spear in a shower of blood and clear jelly. A bit splattered on Rosa as Kain landed next to her. Don't think about mess. Don't think about what she must think about disgusting things.

The shadow twin of Bahamut reared in agony and lost track of Kain, but that would be only for a moment. Kain spat out the handkerchief, pulled back one corner, and pulled out one of the treasures held within: a fluff of phoenix down, tiny as a grape and thin as onion skin. With a shaking hand, he pressed it to Rosa's forehead between her eyes. He told himself, Do not, do not think about the puling whistle of Rydia's breath next to him, or how Cecil was not moving at all.

Rosa's blackened cheek twitched as the magic, which Kain was deaf, blind, and numb to, flowed into her. Then she gasped in and Kain was moving backwards the moment he saw healed flesh rippling out from her head and chest. The most he could do now for help was to distract the dragon. This creature, the inversion of Bahamut's cleansing fire, as Kain was to Cecil's sacred sword-

Don't think. Don't think.

He Jumped, and dived, and stabbed. He ducked and wove. He kept fighting. Behind him he heard armor clanking as Cecil stood back up and helped Rosa heal. Within moments they would all be standing.

Kain flipped back to regroup. He tore his eyes away from the dragon to check Rosa and Cecil were healing successfu-

Something huge, and sharp, and awful as judgment crashed into his stomach. It popped right through to his skin and tore down to his hip like peeling overripe fruit. He was pulled out of the air and and smashed into hard stone only feet away from landing next to Edge and Cecil. The dragon's tail whipped out and back and Kain saw a bloody smear on the spines.

Cecil was looking down at him and saying something. Kain couldn't understand him. His head, back, and everything below his chest didn't hurt, exactly, but felt like they were either blowing up like a balloon or shriveling up, or both at the same time. He felt ready to pass out.

"I think I'm going to pass out," Kain said.

He passed out.

He came to what felt like seconds later. But with no dragon, screaming, or screaming dragon, it had to be some time later. Kain was on top of a blanket. He couldn't open his eyes. He felt more tired than he ever had before. The questions What's going on? and Where am I? seemed less important right now than Can I go back to sleep?

His belly twisted, and it hurt. No - something twisted his belly. Something was in his stomach.

"He's twitching," Cecil said, somewhere over Kain's right side.

"He won't wake up," Rosa said, over Kain's left.

"Should I get Rydia just in case?" Cecil asked.

"Let her sleep. Shame you don't have that sleep sword anymore," she said. "If it comes to it, I could just cut him with that instead of the scalpel a few times and he'd fall asleep again. Eventually."

"Uh," Cecil said.

"That was a joke," Rosa said.

Cecil was quiet, then said, "I don't think I'm cut out to be a white mage." Kain could hear how nauseous Cecil felt. It made Kain want to ask what they were both staring down at, and what were those wet sounds coming from where his navel was. Where his navel should be, rather. He was just too tired to talk. It also hurt, of course, but he imagined that was just a fact of life when disemboweled.

Reality and all its troubles seemed very far away to Kain. It was a nice change of pace.

"Nonsense," Rosa said. "You're a great white mage. You've already got all the basics down. I'm really impressed with how fast you've learned," she said. Kain heard the snap of tiny scissors and a squelch as Rosa reached into him to grab gods only knew what.

"Oh," Cecil said. "Thank you." He swallowed. "It's just. I'm still not used to it, I guess."

Rosa hummed. Kain had the absurd idea she was stitching up his guts with the same silly face she might stitch up a handkerchief. She would stick out her tongue a little and close one eye, which Kain had always thought rather cute. It was less so now. She sounded very casual.

Surely this wasn't a . . . a normal activity to her?

Cecil continued thinking out loud. "I didn't think stitching and mending, all the practical healing skills, would still be so important." Kain cracked his eyes open. He could lie there unmoving while in pain, but if he was going to need to say something, it was Cecil, for fuck's sake, stop distracting her.

All he could see was stone and a blurry glow from a campfire. Cecil and Rosa were silhouetted.

"Well, I didn't intend to run out of mana," Rosa said.

"Of course not. Neither did I," Cecil said. "I feel like I'm just learning things . . . backwards, you know?"

"Hm?"

"You started with changing bandages and learning anatomy, long before you ever healed a patient, right? But I started with Porom and Tellah yelling at me in between fighting off the undead when we were coming down - that mountain," Cecil said. Cecil never spoke about Mt. Ordeals unless he had to. "I feel like I skipped some important things."

"Like what?" Rosa said.

"Oh, uh. Everything," Cecil said. "Right now I'd need to know how to sew, how to cut, where to cut, when to clean the scalpel-"

"It's always better to clean between every cut, with gut wounds, but I'm cheating," Rosa said. Kain loved Rosa but he was about to lash out and say, The fuck you are, woman, go back and clean up or save everyone the trouble and put me down, but then Rosa said, "I'm healing a bit and using esuna as I go along. I have some mana left, just not for big heals. Don't try this until you've practiced a few times."

"Oh. Okay," Cecil said.

"You've got to relax, Cecil. This isn't the first time you've seen blood, or guts. I know it isn't."

"No, no," Cecil said. "I just . . . can't believe this is something you just. Do. Reach in and . . . "

"You might have to do more than just this," Rosa said. "Not today, because I'm healing as I go, and I have a reed for a straw, but if the intestines are full, or impacted? They bruise easily. All organs do. Cleaning them out before making an incision or stitching is important if you rely on healing later, after closing up, to clean out infection. And bruising can weaken them enough they tear later, and then you've got to heal for that, too. So you have to clean it out, and can't squeeze. You have to suck."

Kain felt his soul take leave of his body and land back in his chest with a thunk.

"Oh," said Cecil. Kain wondered if he'd prefer to be a dark knight again. "Oh. I would prefer not to have to that."

"It's not pleasent but it's part of the job. Overall, though? I'm just putting the pieces back together is all," Rosa said. "I can teach you anatomy. It's nice having something to talk about besides the end of the world. And I've been spending more time with you than ever before. It's nice."

Kain's full attention floated up towards the surface enough for him to say, "Oh, so that's your idea of a hot date?"

Cecil screamed. It was a loud and high scream of the sort Kain hadn't heard from Cecil since they were children.

Rosa didn't even flinch.

"Kain! Oh good gods, man," Cecil said. "He's awake! You said he wasn't going to wake up!"

"He's fine," Rosa said. "Kain, don't . . . don't move around."

Kain said, "No problem, Rosa. I'm fine, Cecil. Ces. Hah. You screamed like a . . . " He stopped, and thought about who was holding a piece of his insides. "-a child," he said. "I got you good."

Rydia, hair wild with sleep but eyes wide enough the whites glowed in the firelight, appeared over Rosa's shoulder. Edge materialized from bare stone. "Why's he laughing? What's wrong?" Edge said.

"He's just in shock," Rosa said. "He'll be fine. He's fine. Everything's fine. Rydia, put him back to sleep, would you?"

"'M fine," Kain said. "Rosa, you ate shit? Have you literally eaten shit?"

"Go back to sleep, Kain," Rosa said, with the patience of a glacier eroding a mountain. Rydia started chanting the spell.

"Nooooo," Kain said. "I don't want to go to sleep. Were you making fun of Cecil? Were you just kidding?"

"No, I wasn't kidding. You weren't supposed to hear that, though. Don't worry about it." She winked at him. "White mages have to keep a few secrets."

"Ugh," Kain said. He looked at Cecil. "If this is her idea of a good time, you can have her."

Cecil's jaw dropped at both Rosa and Kain as Rydia cast sleep. As he slipped under, he heard Rosa start giggling. He wondered what was so funny.

"What's so funny?" he said.

"Goodnight, Kain," Rosa said, still giggling.

He smiled. "Goodnight," he said, and fell asleep.