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empiredesimparte · 10 months ago

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⚜ Le Sacre de Napoléon V | N°6 | Francesim, Versailles, 27 Thermidor An 230

Napoleon V met Madame Royale de Thornolie (@theroyalthornoliachronicles) at the coronation gala. It was not the first time she had visited Francesim, but he had never spoken to her before. Curious, he was soon disillusioned by Eleanor's coldness. The young emperor hoped that he had not complicated his future diplomatic relations with the kingdom of Thornolia. He also hoped that she had not formed the wrong impression of him.

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Some of the characters in the background belong to @officalroyalsofpierreland

⚜ Transcription

Louis: Madame Royale, are you enjoying the festivities?

Eleanor: They are certainly festive…

Louis: I'm delighted to see Thornolia is continuing its friendship with Francesim. Do give my regards to your father.

Eleanor: If only you had the opportunity to send your regards in person.

(Long Pause)

Louis: I must say you are intriguing, Madame Royale, for an ambassador. My advisors told me about you, or at least, they told me what they’ve heard of you, so much so I wanted to see if it was true.

Eleanor: Do tell. What do your advisors deem worthy information to tell you about me?

Louis: They say you're not very talkative, to put it simply. I'd like to invite you to Compiègne one of these days so we can get to know each other better. What do you say?

Eleanor: Tell me, sire, is that all it takes for you to impose yourself on a woman? To hear they are not very talkative?

Louis: Madame, you’ve got me all wrong. I'm just...

Eleanor: Non. I’m afraid you have me all wrong. Perhaps you shouldn’t take everything you hear to heart, particularly from people who claim their loyalties only to hide their own agendas. Then you might be able to make valid conclusions about people all on your own. In fact, shall I share what I have heard about you? Louis: I'm all ears, Madame…

Eleanor: In the public eye you are the darling boy emperor who everyone loves to praise. Not a single hair out of place, not a single event you attend favouring you negatively.

Louis: Not an unappealing narrative…

Eleanor: Perhaps the words I’ve heard are more favourable than I lead you on to believe.

And yet…. watching you tonight it is easy to see why anyone would be hard pressed to see behind the smoke and mirrors act you project. And that’s all you are: Smoke and mirrors. You have had everything handed to you on silver platters and fed to you with silver spoons, and therefore you have no problem believing everyone you deign to speak with will bow down to give you anything you desire. So do forgive me, sire, if I refuse to be another.

Louis: … Last I knew, we are cut from the same cloth.

(Short Pause. this is when Eleanor shows the chink in her armour at Louis’s words)

Eleanor: That may be, Louis, but not everyone cares for their cloth the same way.

Marie-Joséphine: Your Majesty, may I join you?... Louis: Of course, Mère.

Eleanor: Bonsoir, Madame Mère.

Marie-Joséphine: Madame Royale. It's a pleasure to meet you.

Eleanor: Truly, the pleasure is mine. My father was adamant I passed along his regards to you.

Marie-Joséphine: Merci, it’s appreciated.Eleanor: I’m afraid you must forgive me. Despite the lovely evening put together tonight I’m feeling a bit run down and must retire. Pardonnez-moi. (curtseys) Sire, Madame Mère. (Leaves)

⚜ Traduction française

Napoléon V rencontre Madame Royale de Thornolie durant le gala du couronnement. Ce n'est pas la première fois qu'elle se rend en Francesim, mais il n'avait jamais pu s'entretenir avec elle auparavant. Curieux, il déchante bien vite devant la personnalité froide d'Eleanor. Le jeune empereur espère ne pas avoir compliqué ses prochaines relations diplomatiques avec le royaume de Thornolie. Et aussi, qu'elle se soit faite une mauvaise idée de sa personne.

Louis : Madame Royale, appréciez-vous les festivités ?

Eleanor : Elles sont certainement festives...

Louis : Je suis ravi de voir que Thornolie continue son amitié avec la Francesim. Veuillez transmettre mes salutations à votre père.

Eleanor : Si seulement vous aviez l'opportunité de les transmettre en personne.

(Longue pause)

Louis : Je dois dire que vous êtes intrigante, Madame Royale, pour une ambassadrice. Mes conseillers m'ont parlé de vous, ou du moins, ils m'ont dit ce qu'ils avaient entendu sur vous, si bien que j'ai voulu voir si c'était avéré.

Eleanor : Dites-moi donc. Qu'est-ce que vos conseillers jugent digne de vous dire à mon sujet ?

Louis : Ils disent que vous n'êtes pas très bavarde, pour faire simple. J'aimerais vous inviter à Compiègne un de ces jours pour que nous puissions mieux nous connaître. Qu'en dites-vous ?

Eleanor : Dites-moi, sire, est-ce tout ce qu'il vous faut pour vous imposer à une femme ? Entendre dire qu'elle n'est pas très bavarde ?

Louis : Madame, vous m'avez complètement mal compris. Je suis juste...

Eleanor : Non. J'ai bien peur que ce soit vous qui m'ayez mal comprise. Peut-être ne devriez-vous pas prendre à cœur tout ce que vous entendez, surtout de la part de personnes qui prétendent leur loyauté uniquement pour cacher leurs propres agendas. Alors, vous pourriez être capable de tirer des conclusions valables sur les gens par vous-même. En fait, puis-je partager ce que j'ai entendu à votre sujet ?

Louis : Je vous écoute, Madame...

Eleanor : Aux yeux du public, vous êtes le jeune empereur chéri que tout le monde aime louer. Pas un seul cheveu de travers, pas un seul événement auquel vous assistez ne vous désavantage.

Louis : Un récit pas déplaisant...

Eleanor : Peut-être que les mots que j'ai entendus sont plus favorables que je ne vous l'ai laissé croire.

Et pourtant... en vous observant ce soir, il est facile de voir pourquoi il serait difficile de percevoir ce qui se cache derrière l'acte de fumée et de miroirs que vous projetez. Et c'est tout ce que vous êtes : de la fumée et des miroirs. On vous a tout donné sur des plateaux d'argent et nourri avec des cuillères en argent, et donc vous n'avez aucun problème à croire que tous ceux à qui vous daignez parler se prosterneront pour vous donner tout ce que vous désirez. Alors pardonnez-moi, sire, si je refuse d'être une autre.

Louis : ... Pourtant, nous sommes faits de la même étoffe

(Courte pause. C'est à ce moment qu'Eleanor montre une faille dans son armure aux mots de Louis)

Eleanor : C'est peut-être vrai, Louis, mais tout le monde ne prend pas soin de leur tissu de la même manière.

Marie-Joséphine : Votre Majesté, puis-je me joindre à vous ?...

Louis : Bien sûr, Mère.

Eleanor : Bonsoir, Madame Mère.

Marie-Joséphine : Madame Royale. C'est un plaisir de vous rencontrer.

Eleanor : Vraiment, le plaisir est pour moi. Mon père était catégorique pour que je vous transmette ses salutations.

Marie-Joséphine : Merci, c'est apprécié.

Eleanor : Je crains que vous deviez me pardonner. Malgré la charmante soirée organisée ce soir, je me sens un peu fatiguée et je dois me retirer. Pardonnez-moi. (révérence) Sire, Madame Mère. (S'en va)

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umgeorge · 7 months ago

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george russell is interviewed after fp2, baku - september 13, 2024 (transcript under the cut)

Interviewer: "George, could you talk us through what hapepend there at the start of FP2? We saw you staying in the garage for a precautionary PU change." George: "Yeah." Interviewer: "Can you give us a little more detail on what happened?" George: "For now, no. Not too sure [laughs] exactly. We just knew we had to change the engine. So we had a problem after FP1, obviously delayed the session, and then we also had a problem at the end of the session, too. So it wasn't our finest Friday, that's for sure. Lewis is looking really quick out there, so we know the car is capable of something strong, but once again Ferrari look really, really strong around here. They always seem to be fast in Baku." Interviewer: "For the laps that you were able to run, how did the car feel? Could you tell that something felt off?" George: "Well, the problem was the engine in FP1, and then at the end it was a actually a sensor failure. So we pitted 'cause we thought we had a water leak, but we didn't. So it was feeling okay. It wasn't feeling superb for me out there. I was struggling; I was definitely off the pace compared to Lewis. I was really struggling with confidence in the car and getting the tires in the right window, so I need to try and step my game up a little bit for tomorrow and try and close that gap."

#george russell #f1 #formula 1 #baku gp 2024 #fic ref #fic ref 2024 #baku #baku 2024 #baku 2024 friday #with lewis

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landinrris · 6 months ago

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I’ve been pretty grumpy about how McLaren have handled team orders, but I will give them credit for today. Listened to Piastri’s radio and on the last lap, they asked him to back up a second to make sure that Lando got 4th after the five second penalty instead of getting jumped by Oscar in the race. He did so right away, no questions asked and said no problem when they thanked him. I’m suspecting that’s the kind of team orders we see till the end of the year.

Yes, I saw this on the transcripts on Multiviewer while I was watching. Tom asked Oscar to drop a second as soon as the penalty came through. I'm not surprised Oscar followed orders considering he's never been one to disobey them. Both of the drivers listen to what they're told. Andrea has said before they're allowed to question the orders, though this one was probably black and white enough (plus with previous intra-team discussions) that there was nothing to debate.

This seems like a pretty common order that they've both been subject to in the past (Daniel as well), it's just that then it was usually "If you can't pick up the pace, let your teammate by" or "Hold station." Pretty normal stuff

If I'm remembering correctly, there was a time in 2022 as well when Lando was having PU issues towards the end and Daniel was told to stay behind and not challenge him. Slightly different, but same color of order imo. They are all team players at the end of the day

#end goal is still team wcc #ask

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argentinesunshine · 5 months ago

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franco's brazil onboard: back at it (last transcript and final thoughts)

[lap 31]

gaetan: and now, when possible, try to push PU load, that's for PU 10, obviously no mistake. i know it's hard.

[overcorrecting like crazy, full opposite lock 4-5 times each in turns 9 and 10]

gaetan [turn 12]: and do you think you would want any flap adjust in this condition, question?

franco: weyy, i don't know, i just cannot drive, i cannot…i cannot even go flat on the straights, so i don't think the flap will do much.

gaetan: copy. […] box box, box box. [very late call]

[franco says something but gaetan's talking over him, i couldn't catch it]

gaetan: watch out pit entry, watch out pit entry. you're crossing SC1 for the first time, box box.

[franco pits]

gaetan: ease in, box, slippery. second gear. all the brakes.

[franco leaves pits]

[lap 32]

gaetan: okay, [car noises] pit, so we just have more temperature on this set, let's try to retain as much as we can. basically what happen now is that next time runnng to SC1, you're gonna be free to push more, you don't have to respect the delta. so right now you're still keeping delta positive up to SC1. we'll come back to you. let's clear pit exit.

franco: oh my god.

[oversteering, wobbling, saving - turns 9-12. finally loses it, crashing in turn 13]

gaetan [right as he crashes]: okay, doing great for the temperature, next time you cross SC1, you're free to increase pace. bearman, first car ahead of you, is at turn 1. what you're doing to try to generate temperature is--

dunno what kind of lag there was, but in the playback, gaetan spoke for probably 10 more seconds after the crash. not sure if radio was killed, or malfunctioned, or if both of them were just silent after that.

[no more radio from either side]

i'm guessing they pitted him the second time because he couldn't keep the tire temperatures up. but lordy, i've never heard of a team pitting a driver simply for warmer tires. they lose temperature so fast, it genuinely doesn't matter how hot they are in the pit lane. he was basically doomed after that stop. it was so bloody stupid.

(i encourage others to go back and listen themselves! especially right after the second pit stop, since i couldn't make out what gaetan said for the life of me)

#franco colapinto #brazil rewatch #le sigh #he really did hold on as long as he could #and he was the only one to be pit twice for the same type of tire each time 😑

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kiragecko · 1 year ago

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When I get into foreign media, one of the first things I do is study the names. Because being a nerd is fun.

My friend is writing extremely good Untamed fanfic, so I've spent the last week trying to figure out how to pronounce Mandarin. And then, despite the fact that y'all can just LISTEN to the show to hear the pronunciation, I decided to share my new knowledge.

I'm a historical linguist (I study how languages might have been spoken in the past) so I'm also including how these names might have been pronounced in Middle Chinese (4th-12th C).

We don't know exactly how things were pronounced then. But this story is set in vaguely historical fantasy China, so I want it to have some vaguely historical names.

Explanation of the symbols afterwards.

The Names

Hanzi (Chinese Characters) | English Translation/Pinyin | IPA (Phonetic transcription of sounds) | Respelling (Phonetic Transcription designed to be easier to understand for English speakers) (Middle Chinese Reconstruction: IPA | Respelling)

姑苏蓝氏 | Gusu Lan Clan | ku˥˥‧su˥˥‧län˧˥ ‧ʂʐ̩˥˩ | kōo-sōo lán ʂʐ̀

(kuo‧suo‧lɑm dʑiᴇˣ | kwo-swo lahm jyé)

云深不知处 | Cloud Recesses | yn˧˥‧ʂən˥˥‧pu˥˩‧ʈʂʐ̩˥˥‧ʈʂʰu˨˩˦ | éeᵘn-ʂə̄n-pòo ʈʂʐ̄-ʈʂǒo (ɦɨun‧ɕiɪm‧pɨu‧ʈiᴇ‧tɕʰɨʌˣ | hhyoon-sheem-pyoo ʈye-chyúh)

蓝启仁 | Lán Qǐrén | län˧˥ tɕʰi˨˩˦‧ʐən˧˥ | lán chěe-ʐə́n (lɑm kʰeiˣ‧ȵiɪn | lahm káy ñen)

青蘅君 | Qīnghéng Jūn | tɕʰiŋ˥˥‧xɤŋ˧˥ tɕyn˥˥ | chēeng-xóʸng chēeᵘn (tsʰeŋ‧ɦˠæŋ kɨun | tsaeng-hhang kyoon)

蓝景仪 | Lán Jīngyí | län˧˥ tɕiŋ˨˩˦‧i˧˥ | lán chěeng-ée (lɑm kˠiæŋˣ‧ŋˠiᴇ | lahm kyáng-ngye)

蓝翼 | Lán Yì | län˧˥ i˥˩ | lán èe (lɑm jɨk | lahm yeek)

云梦江氏 | Yúnmèng Jiāng Clan | yn˧˥‧mɤŋ˥˩‧tɕiɑŋ˥˥ ‧ʂʐ̩˥˩ | éeᵘn-mòʸng chyāhng ʂʐ̀

(ɦɨun‧mɨuŋᴴ kˠʌŋ dʑiᴇˣ | hhyoon-myòong kuhng jyé)

江厌离 | Jiāng Yànlí | tɕiɑŋ˥˥ jɛn˥˩‧li˧˥ | chyāhng yèn-lée (kˠʌŋ ʔiᴇmᴴ‧liᴇ | kuhng yèm-lye)

江枫眠 | Jiāng Fēngmián | tɕiɑŋ˥˥ fɤŋ˥˥‧miɛn˧˥ | chyāhng fōʸng-myén (kˠʌŋ pɨuŋ‧men | kuhng pyoong-maen)

魏长泽 | Wèi Chángzé | weɪ˥˩ ʈʂʰɑŋ˧˥‧tsɤ˧˥ | wày ʈʂáhng-tsóʸ (ŋʉiᴴ ɖɨɐŋ‧ɖˠæk | ngwèe ɖyuhng-ɖak)

藏色散人 | Cángsè Sǎnrén | tsʰɑŋ˧˥‧sɤ˥˩ sän˨˩˦‧ʐən˧˥ | tsáhng-sòʸ sǎn-ʐə́n (dzɑŋ‧ʃɨk sɑnˣ‧ȵiɪn | dzahng-sheek sáhn-ñeen)

兰陵金氏 | Lánlíng Jīn Clan | län˧˥‧liŋ˧˥‧tɕin˥˥‧ʂʐ̩˥˩ | lán-léeng chēen ʂʐ̀

(lɑn‧lɨŋ kˠiɪm dʑiᴇˣ | lahn-leeng keem jyé)

江厌离 | Jiāng Yànlí | tɕiɑŋ˥˥ jɛn˥˩‧li˧˥ | chyāhng yèn-lée (kˠʌŋ ʔiᴇmᴴ‧liᴇ | kuhng yèm-lye)

金光善 | Jīn Guāngshàn | tɕin˥˥ kuɑŋ˥˥‧ʂän˥˩ | chēen kwāhng-ʂàn (kˠiɪm kwɑŋ‧dʑiᴇnˣ | keem kwahng-jyén)

秦愫 | Qín Sù | tɕʰin˧˥ su˥˩ | chéen sòo (dziɪn suoᴴ | dzeen swò)

金子轩 | Jīn Zǐxuān | tɕin˥˥ tsz̩˨˩˦‧ɕyɛn˥˥ | chēen tsz-shyᵘēn (kˠiɪm tsɨˣ‧hɨɐn | keem tsée-hyuhn)

金子勋 | Jīn Zǐxūn | tɕin˥˥ tsz̩˦˥‧ɕyn˥˥ | chēen tsz-shēeᵘn (kˠiɪm tsɨˣ‧hɨun | keem tsée-hyoon)

莫玄羽 | Mò Xuányǔ | muɔ˥˩ ɕyɛn˧˥‧y˨˩˦ | mwò shyᵘén-ěeᵘ (mɑk ɦwen‧ɦɨoˣ | mahk hhwaen-hhyó)

金阐 | Jīn Chǎn | tɕin˥˥ ʈʂʰän˨˩˦ | chēen ʈʂǎn (kˠiɪm tɕʰiᴇnˣ | keem chyén)

清河聂氏 | Qīnghé Niè Clan | tɕʰiŋ˥˥‧xɤ˧˥‧niɛ˥˩‧ʂʐ̩˥˩ | chēeng-xóʸ nyè ʂʐ̀

(tsʰiᴇŋ‧ɦɑ‧ɳˠiᴇp‧dʑiᴇˣ | tsyeng-hhah ɳyep jyé)

岐山温氏 | Qíshān Wēn Clan | tɕʰi˧˥‧ʂän˥˥‧wən˥˥‧ʂʐ̩˥˩ | chée-ʂān wə̄n ʂʐ̀

(giᴇ‧ʃˠɛn‧ʔuən‧dʑiᴇˣ | gye-shen wən jyé)

温情 | Wēn Qíng | wən˥˥ tɕʰiŋ˧˥ | wə̄n chéeng (ʔuən dziᴇŋ | wən dzyeng)

温若寒 | Wēn Ruòhán | wən˥˥ ʐuɔ˥˩‧xän˧˥ | wə̄n ʐwò-xán (ʔuən ȵɨɐk‧ɦɑn | wən ñyuhk-hhahn)

温旭 | Wēn Xù | wən˥˥ ɕy˥˩ | wə̄n shèeᵘ (ʔuən hɨok | wən hyok)

温晁 | Wēn Cháo | wən˥˥ ʈʂʰɑʊ˧˥ | wə̄n ʈʂáhw (ʔuən ɖˠiᴇu | wən ɖyew)

王灵娇 | Wáng Língjiāo | wɑŋ˧˥ liŋ˧˥‧tɕiɑʊ˥˥ | wáhng léeng-chyāhw (ɦʉɐŋ leŋ‧kˠiᴇu | hhwuhng laeng-kyew)

Others

抱山散人 | Bàoshān Sǎnrén | pɑʊ˥˩‧ʂän˥˥ sän˨˩˦‧ʐən˧˥ | pàhw-ʂān sǎn-ʐə́n (bɑuˣ‧ʃˠɛn sɑnˣ‧ȵiɪn | báhw-shen sáhn-ñeen)

欧阳子真 | Ōuyáng Zǐzhēn | ʔoʊ˥˥‧jɑŋ˧˥ tsz̩˦˥‧ʈʂən˥˥ | ōw-yáhng tsź-ʈʂə̄n (ʔəu‧jɨɐŋ tsɨˣ‧tɕiɪn | əw-yuhng tsée-cheen)

SYMBOLS USED

Pinyin (English translation) | IPA symbols | Respelling | English Example

m | m | m | mind

n | n | n | need

N/A | ɳ | ɳ | 'need' with tip of tongue curled up

N/A | ȵ | ñ | canyon

ng | ŋ | ng | sing

N/A | b | b | bat

b | p | p | keep

p | pʰ | p | peek

N/A | d | d | deep

d | t | t | cat

t | tʰ | t | tack

N/A | ɖ | ɖ | 'deep' with tip of tongue curled up

N/A | ʈ | ʈ | 'cat' with tip of tongue curled up

N/A | g | g | goat

g | k | k | peek

k | kʰ | k | keep

N/A | ʔ | none | uh-oh (sound made in English when two vowels need to stay separate, and neither is a 'i' or 'u')

N/A | dz | dz | beds

z | ts | ts | cats

c | tsʰ | ts | tsunami

zh | ʈʂ | ʈʂ | 'cats' with tip of tongue curled up

ch | ʈʂʰ | ʈʂ | 'tsunami' with tip of tongue curled up

N/A | dʑ | j | jump (hold tongue like a 'y' then say 'j')

j | tɕ | ch | pitch (hold tongue like a 'y' then say 'ch')

q | tɕʰ | ch | check (hold tongue like a 'y' then say 'ch')

f | f | f | fig

s | s | s | sit

sh | ʂ | ʂ | 'sit' with tip of tongue curled up

x | ɕ | sh | ship (hold tongue like a 'y' then say 'sh')

h | x | x | loch

N/A | h | h | help

N/A | ɦ | hh | help with slightly more air

l | l | l | lamp

r | ʐ or ɻ | ʐ | 'zip' with tip of tongue curled up

y | j | y | yes

yu | ɥ | yᵘ | you ('y' with lips rounded like you're saying a 'w' or 'u')

w | w | w | wet

Vowels

i | i, ɨ, iɪ, ɨi | ee or y | see (Can/Amer/Brit/Aus)

i | z̩ | z | bzzz (Can/Amer/Brit/Aus)

i | ʐ̩ | ʐ̩ | bzzz with tip of tongue curled up (Can/Amer/Brit/Aus)

u | ɥ, y | eeᵘ or yᵘ | lips say 'sue', mouth says 'see'(Can/Amer/Brit/Aus) ⁹

u | u | oo or w | threw (Can/Amer/Brit/Aus)

u | uə | wə | threw up(Can/Amer/Brit/Aus)

N/A | ʉi | wee | weak(Can/Amer/Brit/Aus)

N/A | ɨo | yo | yore(Can/Amer/Brit/Aus)

iu | ioʊ | yow | yoke (Amer/Can), between yore and yoke (Brit/Aus)

io | iʊ, ɨu | yoo | pure (Amer/Can), cute (Brit/Aus)

o | uo, uɔ | wo | wart (Can/Amer/Brit/Aus)

N/A | əu | əw | about (Can), starting as 'comma', ending as 'goat' (Amer) , no (Brit/Aus)

ou | oʊ | ow | soul(Can/Amer/Brit/Aus)

a | ä, æ | a | lad(Can/Amer/Brit/Aus)

a | ɑ | ah | arm (Can), palm (Amer/Brit), my without the 'e' (Aus)

N/A | ʌ | uh | run (Amer/Can/Brit), 'comma' (Aus)

a | ɛ | e | bed (Can/Amer/Brit), between 'lad' and 'led' (Aus)

ao | ɑʊ, ɑu | ahw | now (Can), 'palm' + 'w' (Amer/Brit), starting as 'my', ending as 'soul' (Aus)

N/A | ɨæ | ya | yap(Can/Amer/Brit/Aus)

ia, ya | iɑ | yah | yard (Can/Amer/Brit), yikes without the 'e' (Aus)

ia, ie | iɛ, iᴇ | ye | yes (Can/Amer/Brit), between 'yap' and 'yep' (Aus)

N/A | ɨʌ, ɨɐ, jɨɐ | yuh | yuck (Can/Amer/Brit/Aus)

yua, ua | ɥɛ, yɛ | yᵘe | lips say 'wet', mouth says 'yet' (Can/Amer/Brit), lips say wet, mouth says between 'yap' and 'yet' (Aus)

iao | iɑʊ | yahw | yard + 'w' (Can/Amer/Brit), yikes + 'w' (Aus)

N/A | ɨæ | ya | yap(Can/Amer/Brit/Aus)

ua | uä, ua | wa | wack(Can/Amer/Brit/Aus)

ua | uɑ, wɑ | wah | warm (Can/Amer/Brit), white (Aus)

N/A | ʉɐ | wuh | won(Can/Amer/Brit/Aus)

uai | uaɪ | why | wide (Amer/Can) wack + 'y' (Brit), way (Aus)

N/A | uɛi | wey | wet + 'y' (Can/Amer/Brit), between 'way' and 'wed' (Aus)

e | ə | ə | comma (Can/Amer/Brit/Aus)

e | ɤ | oʸ | lips say 'wore', mouth says 'yore'(Can/Amer/Brit/Aus)

e | e | ae | day without 'y' (Can/Amer/Brit), bed (Aus)

ei | eɪ | ay | day (Can/Amer/Brit), bed + 'y' (Aus)

N/A | we | wae ¹⁰ | way without 'y' (Can/Amer/Brit), wed (Aus)

ui, wei | ueɪ, weɪ | way | way (Can/Amer/Brit) , wed + 'y' (Aus)

N/A | iᴇu, jiᴇu | yew | yes + 'w' (Can/Amer/Brit), between 'yap' and 'yep' + 'w' (Aus)

N/A | wiᴇ | wye | ??

N/A | iuɪ | ywee | ??

N/A | iuᴇ, jiuᴇ | ywe | ??

N/A | iuᴇi | ywey | ??

(The 'i's at the beginning of the last 3 are there to distinguish them from other sounds, but we don't actually know how they're pronounced. Same thing with all the extra 'j's and 'w's in the Middle Chinese transcriptions.)

Other Symbols

ˠ - say the sound while back of tongue is raised.

ᴴ, ˣ - the 2 marked tones of Middle Chinese (third 'tone' is syllables with 'p', 't', or 'k' at the end, final tone is unmarked). It's uncertain what they were, but the guess is 'ᴴ' was low and 'ˣ' was high.

ó, ò, ō, ǒ | ˧˥, ˥˩, ˥˥, ˨˩˦ - Modern Mandarin tones. I'm ADHD and can't hear my own tone and volume, so I am have no help for you.

#the untamed #mo dao zu shi #linguistics #mandarin #middle chinese #historical linguistics

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christian-dubuis-santini · 2 months ago

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De la différence du réel et de la réalité chez Lacan (ou pourquoi le psychanalyste n’aura jamais pu être dupe de la mascarade covidiste)

À une époque où dominent tricheries, tromperies et falsifications en tous genres, où les mots en arrivent à signifier l’exact contraire de ce qu’ils étaient censés désigner depuis des siècles, au point où est apparue une opposition entre "le réel" d’un côté et "le récit" de l’autre, que dirait Lacan?

Tout d’abord convient-il de préciser que Lacan n’a JAMAIS DIT (ni écrit) nulle part «Le réel, c’est quand on se cogne.»

Et pourtant, "ça" passe pour une "vérité", la "preuve": c’est que sur GOUGUEULE, des centaines de pages reprennent la «citation», bientôt des milliers!

Voilà qui donne une idée de la façon dont fonctionne la transmission, du "savoir" comme "information"...

Si dans les quinze mille pages disponibles de Lacan (Écrits, Autres Écrits, transcriptions Staferla des séminaires...), à aucun endroit, à aucun moment Lacan ne dit expressément ces mots, c’est tout simplement parce qu’ils trahiraient ce qu’il dit effectivement par ailleurs de cette notion de Réel, en tant qu’impossible à symboliser et impossible à imaginer, et qu’il s’agit de ne pas induire l’auditeur en erreur en laissant entendre que le Réel, ce serait quelque chose de matériel...

Ce que dit Lacan littéralement, c’est:

«Il n’y a pas d’autre définition possible du réel que: c’est l’impossible; quand quelque chose se trouve caractérisé de l’impossible, c’est là seulement le réel; quand on se cogne, le réel, c’est l’impossible à pénétrer.»

Mais il aura suffi que Jacques-Alain Miller (qui s’imagine faire autorité sur le texte de Lacan, juste parce qu’il en est "l’exécutaire testamenteur") réduise la précise formulation lacanienne à: «le réel, c'est quand on se cogne», pour que ce genre de simplification abusive qu’on retrouve dans la presse ou le marketing, cet aplatissement honteux, cette trahison caractérisée de la lettre qui efface la complexité du concept de Réel chez Lacan soit frauduleusement attribuée à Lacan.

Voici du Lacan dans le texte:

«Un enfant se cogne contre une table, et l’on va vous dire que cette expérience lui apprend le danger des tables.

Eh bien, c’est faux.

Quand l’enfant heurte la table, ce n’est pas devant la table qu’il est placé, mais devant un discours que lui font immédiatement ses parents.

De même pour chacun de ses gestes.

L’enfant est environné, submergé, noyé dans un immense discours, il est menacé d’étouffement.

C’est dans le langage qu’il se développe.

Le sujet est constitué par le langage et non pas le contraire.

Prenez la notion, fondamentale pour Freud, de désir.

Le désir ne peut pas être articulé autrement que dans et par le langage.

C’est même la différence avec le besoin ou l’appétit qui, eux, ne sont que d’ordre physiologique.

Dans l’histoire réelle du sujet, le besoin passe par ce que j’appelle «les défilés du signifiant», c’est-à-dire de la parole.

L’enfant fait passer son besoin par le langage, mais jamais le langage n’arrive à s’égaler à lui-même.

Et c’est cette béance, si vous voulez, que vient combler le désir.

Le désir est donc articulé dans le langage, sans que le langage puisse s’égaler à lui.

Et vous savez, cette histoire date d’avant la naissance.

Non seulement parce que l’enfant, avant de venir au monde, est déjà assorti d’un nom et d’un prénom, mais encore parce que sa naissance est commandée par le désir de ses parents.

La façon dont ses parents l’ont désiré, bien ou mal, avant sa naissance – et rappelez-vous que le désir est articulé dans le langage – cela va le lier à une certaine place dans le monde et de cette place va résulter telle ou telle conséquence parmi lesquelles perversions, névroses, etc. S’il est donc vrai que, pour Freud, tout est inscrit dans cette parole structurée qu’est le désir, il suit que tout, dans l’histoire de l’homme, est lié à l’incidence du langage.»

Puis dans son séminaire L’insu que sait de l’une bévue c’est l’amour, Lacan reprend:

«C’est assez fâcheux que le Réel ne se conçoive que d’être impropre. C’est pas tout à fait comme le langage. Le langage n’est impropre qu’à dire quoi que ce soit. Le Réel n’est impropre qu’à être réalisé. D’après l’usage du mot "to realize", ça ne veut rien dire d’autre que: imaginer comme sens.»

La psychanalyse est une clinique du discours ET un discours (la psychanalyse n’opère que du discours qui la conditionne), ce discours particulier qui ne procède pas vers le réel, mais par le réel.

La singularité de l'approche psychanalytique, c'est de pouvoir mettre en rapport, notamment par la notion de "jouissance", l'horreur du réel qui se rencontre dans la clinique, avec la convoitise du réel propre à l'art...

Si le réel ne se fait jour que par le symbolique, il ne saurait s’y confondre, échappant à toute représentation fût-elle la moins imaginaire…

Le Réel chez Lacan apparaît comme la notion cruciale, non seulement parce qu'elle désigne ce qui n'est ni imaginable, ni symbolisable (irreprésentable) mais aussi dans la mesure où elle permet de saisir pourquoi la réalité est à placer du côté du fantasme, ceci conformément à cette découverte majeure énoncée par Hegel que ce qui apparaît au sujet comme "réalité" est toujours déjà, a priori, "médié" par le sujet lui-même…

La manière dont le Discours Capitaliste (l’idéologie dominante) se présente comme le seul discours pour lequel il n'y a pas d'impossible — et donc pas de réel, seulement la réalité! — est peut-être plus explicite sous l'angle du fantasme. Lacan dit que le fantasme est notre fenêtre sur le réel. Dans son séminaire sur L'angoisse, il reprend l'idée du tableau de Magritte "La condition humaine" et suggère à chacun d'imaginer une fenêtre sur laquelle serait peint ce qui serait visible à l'extérieur. Chaque peintre mettant sa subjectivité dans sa peinture, chacun peint donc le réel aux couleurs de son fantasme fondamental, c'est à dire en fonction de la fenêtre par laquelle le monde se rend visible pour lui… Même si, en peignant des pommes, Cézanne disait vouloir atteindre la "pomméité" de la pomme, et que Baudelaire confessait: «je veux représenter les choses telles qu'elles sont, ou bien qu'elles seraient en supposant que je n'existe pas»), il est impossible de concevoir le moindre accès au réel sans la présence du sujet qui l’y convoque. Par la parole donc.

Y a-t-il un Réel indépendamment du sujet? Le sujet lui-même, n’est il pas en tant qu’èvanescent, disparaissant, toujours voué à l’aphanisis, ce qu’il y de plus réel?

Quid du réel dans son rapport à la réalité?

Revenons sur Le sinthome avec Lacan:

«D’où vient le feu ? Le feu, c’est le Réel. Ça met le feu à tout, le Réel.

Mais c’est un feu froid. Le feu qui brûle est un masque, si je puis dire, du Réel. Le Réel en est à chercher de l’autre côté, du côté du zéro absolu. On y est arrivé, quand même à ça. Pas de limite à ce qu’on peut imaginer comme, comme haute température. Pas de limite imaginable pour l’instant. La seule chose qu’il y ait de Réel, c’est la limite du bas. C’est ça que

j’appelle quelque chose d’orientable. C’est pourquoi le Réel l’est. Il y a une orientation, mais cette orientation n’est pas un sens. Qu’est-ce que ça veut dire? Ça veut dire que je reprends ce que j’ai dit la dernière fois, en suggérant que le sens, c’est peut-être l’orientation. Mais l’orientation n’est pas un sens puisqu’elle exclut le seul fait de la copulation du Symbolique et de l’Imaginaire en quoi consiste le sens. L’orientation du Réel, dans mon territoire à moi, forclôt le sens.»

L’erreur — qui n’est pas une erreur mais une faute logique — perp��trée par les tenants de la "réalité virtuelle" et de "l’homme augmenté", les trumains-deux-zéro, les modélisateurs, les algorithmés du bulbe, apôtres de la Sainte Innovation Technologique, c’est de s’imaginer qu’il serait possible de savoir quelque chose sur l’Autre (réel) par les seuls signes perçus à partir d’un écran, hors la présence et la mise en jeu réelle des corps, du sien comme de l’autre, cela revient tout simplement à dénier le réel.

Le réel, inéliminable définitivement de l’expérience humaine en son fondement, revient toujours à la même place…

Au slogan du Discours Capitaliste "tout est possible!" Lacan oppose un constat plus sobre: «L’impossible arrive.»

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a-concert-just-for-me · 5 months ago

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I've been fascinated by music boxes ever since I was a wee tot, but never got one because I thought they could only play one melody. After learning about punch cards from the early days of computing (and more advanced looms), I decided to try making a music box based on a punch card. (I tried this, never to any great success, several times in elementary and middle school. This once included a robot for a science class)

I have heard RUMORS that you can speak on music boxes for upwards of an hour. Do tell, do tell. I am very curious and captivated 😇

I don’t really know anything about the history of music boxes (I’m such a fake fan! /j), but I do enjoy making them. It’s been a long journey of trial and error to figure out the most efficient way to do it, but I’m pretty sure I finally have my own process down now :)

Infodump under the cut

So! You want to make a music box, huh?

(This is where you say omg yasss girl that sounds like so much fun!!!)

Oh wow, very cool! I am happy to teach this class.

Well, of course to start, you will need a music box. Here are the options of programmable (well, with paper strips) music boxes.

Kikkerland 15

Grand Illusions 20/Murobox 20

Wintergatan 20 (custom)

Grand Illusions 30

Murobox 40

To explain the types of music boxes:

The first part is the brand name, then the number is how many notes they have. I’m only familiar with a few of them.

Fun facts:

1. Muroboxes are music boxes that you can program from your phone. They’re really cool, but super expensive! I’ll stick to my way, haha

2. There is a 60 note option on musicboxmaniacs ‘create’ tool (I’ll talk more on that site in a min), but there isn’t actually a 60 note programmable music box out there. It’s just for fun.

3. The boxes I have are the Kikkerland 15 and the Grand Illusions 30. I’ll explain more about them.

Kikkerland 15

Honestly I never use this guy. It’s 2 octaves, C scale (unless it’s transposed; I’ve never looked into it—more on transposed boxes in a second). No sharps or flats. Very limited in what you can do with it. But it’s very cute :3

Grand Illusions 30

Okay, here’s where things get goofy. So, this one is 3 octaves, and the strips are written in the key of C.

OR *ARE* THEY?

Actually, for some reason, the box is actually in the key of F!

(That means that if you were to punch the note of C on the music box strip, it would actually play an F!)

Here’s a scale I did of what the music box strips say:

And here’s what the actual notes are:

So how do you know how to write the music if the notes don’t match what the box plays???

Well, we have two options!

1. You could write it using the C scale and let the music box transpose it to the key of F for you (still sounds good most of the time)

2. Or if you want an exact 1:1 transcription, you could write the music using the F scale from the get-go. I usually use this option unless I intuit that a song would sound better transposed instead/it’s easier to write that way

Okay, you have your options on what key to write in, now what?

1. You can use musicboxmaniacs.com’s ‘create’ tool (I used this for the longest time—very tedious) and download the strips from there

2. You can use a music notation software (I use Musescore!), convert the song into MIDI format, upload it to musicboxmaniacs.com, and download the strips from there.

3. (Or, if you’re a freak, you can eyeball it and do it by hand on the sheets that come with the box. Idk man I’m not a cop but seriously what is wrong with you)

Done! Now assuming you’re not a freak, how do you convert what’s on your computer to actual music box strips in real life?

1. You could print out the guide strips on copy paper and overlay them onto the strips that come with the box (I think?) OR just glue it on top of a bunch of other pieces of paper until you get the right thickness. And then with either method, punch out where the ‘x’s are.

2. Or you can be galaxy-brained and let a cricut machine do it for you

Yes, you heard that right!!! A machine can punch all the holes for you!!! Someone made a python code that will convert DXF files to SVG files! Then you can put the SVG files into the cricut design space and print them!

I have a video on it here:

EDIT: there was a video here but I realized I accidentally doxxed myself in it 😆 I need to go back and edit it lmao

It’s just a tutorial on how to convert DXF files to SVG files, and then how to use the SVG files in the cricut design space to print out music box sheets

“Okay,” you say, “I followed the video…That’s cool and all…but what materials do I use? Your video seems a bit outdated and doesn’t even have a second part…”

YOU’RE RIGHT, IT IS, and I surely did not end up making that second part, lol. Let me remedy that.

After tons and tons and tons of trial and error, I’ve figured it out. My first method involved using posterboard, which kind of worked, but always made the songs stutter and stop.

Finally, I had the huge-brain revelation that it wasn’t a mechanical issue with my box like I’d thought for so long—the paper just wasn’t thick enough!!!

So now, the best combo I’ve found is this:

1. 12x12 Cricut mat

2. 2 pieces of 12x12 paper (thick ones!)

3. Elmers craft bond stick glue

4. Scotch tape

5. A scraper tool

Directions

1. Glue 2 pieces of 12x12 paper together. I use scrapbook paper, as it comes perfectly in that size! I usually do a pretty design on top, then a boring white on the bottom, as not to waste my pretty paper. But yeah, two pieces of that scrapbook paper glued together is the perfect thickness.

2. Let dry under something heavy.

3. Put the paper pretty-side-down onto a standard grip cricut mat

4. Tape down the edges of the paper onto the mat so that it doesn’t move at all during the cutting process (needs to be precise!)

5. Use a deep cut (cardstock+ is what I use)

6. Plug in your machine and let it do its thing!

7. When it’s done, remove the mat. Peel off the music box strips one by one, making sure to label them on the ugly side according to the order they’re in. This will save you soooo much confusion later

8. Poke out any holes that didn’t get cut all the way

9. Tape your strips together in the right order (make sure that if there are any holes that fall under your tape, to re-punch them!)

10. Test out your strips in the box! If it sounds like there are missing notes, make sure to go back and make sure they’re all punched all the way through/no tape is blocking them

11. Now that you have your beautiful song, you have to clean up your mess. Use a scraper tool to scrape allllllll the annoying little punched-out paper bits into the trash.

13. Now you’re all done! Put your stuff away and think about your next project lol

Thank you for the ask <3

#infodump #music box #💌 mail time 💌#there’s a lecture I could do on how to splice up longer songs onto multiple cricut mats but #1. that’s getting very nitty gritty #and 2. I’d have to refresh myself on how to do it

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aisakalegacy · 1 month ago

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Printemps 1937, Hylewood, Canada (19/27)

Environ une heure et demie plus tard, nous nous étions réunis tant bien que mal dans le salon. Nous n’en menions pas larges. Nous avions les yeux bouffis de fatigue, l’esprit embué de ceux qui ont mal dormi. Si Layla avait dormi plus que nous autres, son sommeil avait été envahi de cauchemars. Après tout, c’est elle qui avait découvert le cadavre… Lola était la plus reposée d’entre nous. Passé le choc et les larmes, elle avait réussi à dormir d’une traite jusqu’au lendemain où Agathon l’avait libérée de sa chambre. Toute cette excitation la rendait presque joyeuse, mais je la connaissais - aussitôt seule avec ses pensées, la tristesse reviendrait. Irène était irritée - notre fille ne dormait pas, quand elle dormait elle était réveillée par les trépidations d’Agathon, et de ce fait, son sommeil avait été interrompu constamment. Sonia avait été réveillée au beau milieu de la nuit par Agathon et n’avait pas pu se rendormir ensuite. Gizelle s’était couchée plus tardencore que d’habitude et aurait très clairement préféré faire la grasse-matinée. Quant à Agathon et moi, nous avions fait nuit blanche… Autant dire que personne n’était très frais.

[Transcription] Agathon LeBris : Merci d’être venus au plus vite, malgré le fait que cette nuit a été courte pour la plupart d’entre nous. Je vous ai réunis ce matin pour vous raconter une petite histoire. Gizelle LeBris : J’aurais préféré rester dans mon lit… Agathon LeBris : Toute histoire a besoin de son lot de personnages. Ne vous fiez pas aux noms, ils sont purement théoriques. Choisis par hasard. Dolorès LeBris : Vas-y, Agathon. On sait que ça te démange. Agathon LeBris : D’abord, notre protagoniste. Lorita avait 19 ans et travaillait dans un cabaret du quartier Lumière Rouge à Montréal. Les cabarets du quartier étaient tyrannisés par un malfrat local qui leur avait imposé un « impôt de protection » (contre lui-même) qu’il venait collecter de temps en temps. Agathon LeBris : Le cabaret s’appelait L’Ombre Rouge, et il n’avait pas les moyens de payer l’impôt. Le malfrat et ses hommes s’étaient donc décidés à se « rembourser » en violant les filles… Agathon LeBris : Pas question de laisser ces porcs obtenir quoi que ce soit d’elle. Lorita a donc a tué le malfrat, sans culpabilité aucune puisque selon elle, c’était un rustre qui ne méritait que ça. Agathon LeBris : Ensuite, elle s’est enfuie. Elle a été amenée à travailler pour un trafiquant péruvien notoire installé à Kingston du nom de Luis Ortega. Elle livrait de l’alcool aux Etats-Unis, et elle ramenait de la cocaïne, qui allait ensuite être vendue aux privilégiés installés dans leurs résidences secondaires des Milles Îles. Agathon LeBris : Mais les Prohis devenaient suspicieux, et il fallait un meilleur alibi. La situation qui suit est purement hypothéthique. Un jour, il y a sept ans, dans un bar peut-être (après tout, qui suis-je pour juger des loisirs du petit personnel dans son temps libre…), elle rencontre une femme qui se plaint d’avoir été renvoyée de la famille bourgeoise qui l’employait comme domestique. Agathon LeBris : C’est alors que Lorita a une idée de génie : si elle se fait engager comme bonne chez une des familles des Milles Îles, alors sa présence sur le Saint-Laurent ne sera jamais questionnée, et elle pourra œuvrer bien plus facilement ! C’est ainsi que depuis sept ans, elle travaille pour les Le Bris. Agathon LeBris : Une famille sympa, sans trop de moyens - et dont les membres sont si occupés qu’ils ne font pas attention à elle…. Pendant des années, elle a gagné leur confiance. Gizelle LeBris : D’accord. Mais cela ne nous explique pas comment elle est morte. Agathon LeBris : Très bonne remarque. Une histoire a un héros, il lui faut aussi un méchant. Laissez-moi vous rappeler encore une fois que les noms que j’utilise sont purement hypothétiques, que toute ressemblance avec une situation réelle serait parfaitement hasardeuse. L’histoire que je vous raconte n’est que le fruit de mon imagination.

#ts3 #simblr #legacy challenge #history challenge #decades challenge #lebris #lebrisgen4 #Lucien Le Bris #Irène Bernard #Agathon Le Bris #Dolorès LeBris #Layla Bahar #Gizelle LeBris #Roseline LeBris #Lorita Donaldo #Sonia Houveau

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aejiee · 1 year ago

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hi! you asked for marauders fic recs so im here to give you some :)

idk if you’ve read these or any yet, so they might seem kinda basic. they’re just to introduce you to this world/the characters. i wish i had a list like this when i first got into the marauders fandom ngl

also these are only gonna be marauders era fics, if you want golden trio era fics as well, i can give you some!

anyway:

all the young dudes by mskingbean89 (completed, 527k words, wolfstar & jily): this is THE marauders fic for most ppl, and i just think of it as what happened canonically. no fic is perfect, but this should be every1’s first marauders era fic imo (you might’ve read this already cuz it’s SO popular). its from remus’ pov and it follows him throughout hogwarts and until (i think) poa or ootp

the wolf’s tail by myheadsgonenumb (wip, 457k words, no ships yet but prob wolfstar & jily): this one’s pretty underrated imo, and it’s SO WELL WRITTEN!!! this also follows remus throughout hogwarts. however id say the diff between this and atyd is that (so far at least) it focuses more on the war side of the marauders era, even when they are still young and at hogwarts. so if you’re interested in how actually dark and dangerous the times were back then, even for children, you will like this one! the only thing ill say for this is that its kinda very descriptive at points (ex. there’s a lot of newspaper clippings, book quotes, interview transcripts etc) but you can just gloss over them if you think they’re not that important. rn i think their 5th year just started, so keep that in mind (its gonna be a long one)!

the cadence of part-time poets by motswolo (completed, 980k words, wolfstar & jily): AAAAAAHHHH this one is my ALL TIME FAV (marauders era) FIC <33333 this is a muggle au, so no magic! this is also a remus pov (😭) and he goes to hawkings (which is basically hogwarts) in his (i think??) 4th year? or younger? smt like that :,). this fic also has my fav oc (tomny) hehe. as the tags say, its a band fic/au, but i’ll spoil no more!

the making of the map by fox_pitch (completed, 79k words, wolfstar & jily): this is a shorter one, but its also rlyyy good. pretty sure this starts and ends in their sixth year, but as the title suggests, its how the marauders map come to exist! its also how wolfstar gets together and its very cute and wholesome. the ending is kinda ambiguous in the sense that it doesn’t give any hints as to if anything changes in this fic’s universe’s future, but id assume not.

choices by messermoon (completed, 624k words, jegulus, wolfstar & jily): i kinda assumed you wanted the “canon” ships (aka jily and wolfstar) but if you’re interested in jegulus (james potter/regulus black) then this one is prob for you. i personally haven’t finished this fic, but ik its a jegulus classic/canon, just like atyd is for jily (& wolfstar). this one follows james, and it doesn’t start on his first year i think. it has alternating povs as well! however, as the tags warn, it is canon compliant, aka reg dies in the end, so do w that what you will :,)

only the brave by solmussa (completed, 646k words, jegulus, wolfstar, dorlene, rosekiller & pandalily): this is another jegulus fic! it has started being considered a classic and if you read it, you’ll understand why. this also does not start from their first year, and this one also has alternating povs! i love the writing and just general concept/plot of this one; i don’t love jegulus but i was still HOOKED w this fic, so yes. its rly good. and as you can see w the tags, this is a happy ending (aka, reg lives)!!!!! mwah love those.

art heist, baby! by otrbs (completed, 219k words, jegulus, wolfstar, dorlene, alice/frank longbottom - idk their ship name): i also have not read this fic, but ive only heard good things about it (and some sobs but that’s what you get for “major character death” : ) )! i know the ending of it tho, and it is kinda sad, so prepare yourself. it is a muggle au, and they basically wanna pull an art heist? yup lets go w that simple explanation.

that’s it for now bahhaha, and its a LOT, so enjoy! if you want shorter ones, i also have some i can show you, and if you’ve read these, lmk if you like them! <3

OMG THANK YOU SO MUCH 🙏🙏🙏 Ur my savior bro. I'm abt to finish ATYD and I started reading The Making of the Map per your suggestion because it was short enough to download a pdf to read in class 💀💀 I really like both of them!! I need to psych myself up to read some of the 500k+ fics tho bc atyd took me so long 😭😭😭 I'll let you know how I find the rest of them ^^ TYY!!!

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selidren · 6 days ago

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Eté 1940 - Alexandrie (Egypte)

3/7

J'ai deux fils dans l'armée. Antoine et Jean-François. Ils ont été engagés en tant que réservistes, mais mon cadet était un volontaire. Il se fait une haute idée de la guerre, et j'ai tellement peur que cela le fasse tuer. Aux dernières nouvelles, nos troupes se faisaient massacrer. Ma bonne amie, Marian Whitwell, est l'épouse d'un colonel de l'armée britannique. Je sais que son époux à pu s'échapper de France, non sans quelques blessures. Elle ne voulait pas me dire ce qu'elle savait, sans doute pour me ménager. A force de l'assaillir de questions, elle a cédé. Selon elle, ceux qui ne se sont pas fait massacrer ont été fait prisonnier. Mes deux garçons sont-ils en train de pourrir dans une prison en Allemagne ?

Les seules pour lesquelles je suis rassurées sont mes plus jeunes, Jeanne et Julienne, mais aussi Sélène, qui s'est installée au Portugal. Elle m'a fait envoyer une photographie. Son petit garçon, Emilio, est aussi blond que moi. C'est particulier pour un petit portugais à la peau si brune.

Transcription :

Albertine « Constantin... »

Constantin « Mmh... »

Albertine « Constantin ! »

Constantin « Mmh… Ma chère, tu vois bien que j’essaie de faire une sieste. »

Albertine « Il faut que l’on parle. »

Constantin « Bon, très bien. Si tu insistes. »

Albertine « Je suis terriblement inquiète. »

Constantin « Je le sais bien. Mais que pouvons nous y faire ? »

Albertine « Tu n’es pas inquiet toi ? »

Constantin « Si bien sur. Mais tu as élevé de merveilleux enfants, débrouillards et intelligents. Je suis certain qu’ils s’en sortent parfaitement. Il faut attendre quelques temps que les choses se tassent. »

Albertine « Notre petite Eugénie n’est pas… Oh, Constantin ! Comment peux-tu te dire que tout va bien alors que nous n’avons plus de nouvelles ? »

Constantin « J’ai fait tout ce que j’ai pu et tu le sais. J’ai bien tenté de convaincre Jean-François de venir vivre avec nous, mais il n’a rien voulu entendre. Ah… Ces écoles qui exaltent le patriotisme extrême, voilà où tout cela nous mène… A partir de ce moment, il n’y avait plus rien que nous puissions faire. A part attendre. »

Albertine « Mais je ne peux pas attendre ! Ce sont nos enfants là-bas ! »

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run-aled · 8 months ago

Text

RED VALLEY: SEASON 2 EPISODE 5 ‘A Thousand Tonnes of Rock’

[transcript]

SCENE 1

2020. GORDON AND WARREN ARE IN THE DISUSED MEDICAL BAY ON THE GROUND FLOOR, PLAYING REBOUNDSWITH A TENNIS BALL. THROUGH OUT THE SCENE THERE IS A CHANGE TO WARREN'S VOICE THAT HE'S TRYING TO HIDE - A FRAILTY. HE IS OCCASIONALLY SHORT OF BREATHAND HAS A PERSISTENT COUGH.

WARREN: So, the Pus Crank Christmas medley was called Beth-mayhem?

GORDON: O Little Town of Bethmayhem. We did severalactually.

WARREN: Oh yeah, what were they called?

GORDON: God Rest Ye Metal Gentlemen.

WARREN: Good.

GORDON: The First No-Hell.

WARREN: That’s very good!

GORDON: Good King Wencesthrash.

WARREN: Wencesthrash?

GORDON: Yeah, I mean… It's harder than you think.

WARREN TAKES A MOMENT TO THINK.

WARREN: We Wish You A Metal Christmas.

GORDON: Um, no… Too easy.

WARREN MISHITS THE BALL.

GORDON: Oh, are you alright?

WARREN: Yeah, Yeah, I’m fine.

GORDON: Two shoots to me for that!

WARREN: I know.

GORDON HITS THE BALL, WARREN TAKES HIS TURN ENTHUSIASTICALLY.

WARREN: While Shepherds Rocked Their Socks By Night!

GORDON: Um, yeah that one’s better!

WARREN: The 12 Days of Crustmas.

GORDON: Yes!

CUT. WARREN AND GORDON PLAYING GOLDENEYE.

WARREN: Would you rather...do a tiny shit every hour on the hour, or spend one week a year doing all your shits in one go?

GORDON: Is this during sleeping hours as well?

WARREN: For which? The every hour one?

GORDON: Yeah, yeah. No. Wait. No, both of them. I mean…you couldn't shit for a full week 24/7 without sleep.

WARREN: You get to sleep as normal.

GORDON: Okay umm… Would the week be exempt from annual leave or sick pay entitlements? Does this impact the whole human race or just me personally? I'd hate to lose a week of holiday just because I - Oh! Ha ha ha ha!

WARREN: Oh my God! Fuck sake.

GORDON: That is why you don't play as Baron Samedi on Goldeneye.

WARREN: He's the coolest one.

GORDON: Yeah, but his tophat still counts as his head so hehas like 3 times the surface area for me to get aheadshot.

WARREN: Well, yeah fine, let me be Mishkin then.

GORDON: No, I'm always Mishkin. You have everyone else tocan be.

WARREN: But I would like to be Mishkin.

GORDON: No, you only want to be Mishkin cos you can't have him. I like the shape of his head.

WARREN: His head is square. They all have square heads.

GORDON: Come on!

WARREN: Oh oh look look, she's waddling, Gordon, she’s waddling.

GORDON: Waffles! Hey!

WARREN: To be fair, I did think tortoises came bigger than that.

GORDON: She's only wee. She came out of an eggremember. She'll get bigger. Like shoebox kind ofbig.

WARREN: Do you like her?

GORDON: She's my daughter now. Aren't you Waffles? Aren’tyah! Ow! She pinched me! Didn't you! I can't believe they actually gave us a tortoise.

WARREN: Well, that is the almighty power I wield.

THE COMM CRACKLES.

GRACE: Warren, can we see you in the lab in 5 minutes,please? Over.

WARREN: That's a ten four. Over.

GORDON: A-ok.

WARREN: Roger Roger.

GRACE: What?

WARREN: Yep. Give me 5 minutes.

GRACE: That's what I said.

WARREN: I mean 10 minutes.

GORDON: Is that...is it time to-

WARREN: No, it's just more scans, I think.

THE COMMS GO AGAIN.

GRACE: Gordon, I need you to help Pamela with the saline.We need to top up the supply, there's not enoughdown here for another freeze and Bryony want shim in before 7 o’clock.

THEY PAUSE.

WARREN: Yeah er… We'll be there now.

GORDON: Warren, you've been out less than a week.

WARREN: Yeah well, they must be stepping it up.

GORDON: Look you know you don't have to actually-

WARREN: I know I know. I don't have to do anything.

AWKWARD SILENCE.

GORDON: Warren. Do you...do you like going intohypersleep?

WARREN: Well… I like being good at something.

GORDON: You're good at Golden Eye. And you don't have torisk your life every time you play it.

WARREN: You’re gonna be here, when I get out?

GORDON: Always am.

WARREN: Well, if you're not, I get to be Mishkin. Inperpetuity.

CUT.

SCENE 2

AUBREY, IN HER VAN, HIDDEN NOT FARFROM THE STATION. IT'S COLD ANDRAINING BUT SHE'S STOOD WITH THE DOOR TO THE VAN OPEN. HER LITTLE KETTLE HAS BOILED. SHE POURS ACUP AND BLOWS ON IT IMPATIENTLY.EVENTUALLY A LITTLE ALARM GOESOFF. SHE PICKS UP THE COMM SHE GOT FROM WARREN AND TURNS IT ON.SHE CLICKS IT SIX TIMES. CLICK,STATIC. CLICK, STATIC. ONCE SHE'S ATCHANNEL SIX SHE STOPS, AND WAITS.EVENTUALLY THE COMM CRACKLES TO LIFE.

GORDON: Hello?

AUBREY: Hi Gordon.

GORDON: Aubrey?

AUBREY: Yes, it's still me. How are you?

GORDON: I am freezing.

AUBREY: I'm sure there's plenty of places you could goinside where they wouldn't walk in on you.

GORDON: I don't trust anywhere inside. I don't really trust being outside. I don't know how long I can getaway with this Aubrey. I can only pretend to inspect the guttering so many times.

AUBREY: To be honest you shouldn't be pretending. Theicicles that build up on those gutters are lethal.They're like stalactites. I remember one broke off when Ben was carrying some equipment and bumped into a wall, I swear it would've gone straight through his head if it had hit him.

GORDON: Maybe I shouldn't stand beneath them then.

A PAUSE.

GORDON: Aubrey?

AUBREY: I'm sorry. I just...I just can't believe he's dead. Ben.I mean I can, of course I can. It's why we were so careful all this time. We knew what they would doto us if they found us. I mean, I had to assume when he went quiet on me that they'd got to him. I just… I just can't believe he's been down there inone of those bloody pods. For Bryony to play with like he's a...

GORDON: Teddy bear?

AUBREY: Alright Gordon.

GORDON: At least you know it's equal opportunities butcheryround here. Anyone's head can be sawn off.

AUBREY: Ben Thomas was a lot of things but don't forget he helped you get all the information you were searching for on Red Valley, just like me.

GORDON: You're right. I'm sorry. And I'm sorry about Ben Thomas. He was your friend.

AUBREY: Well, let's not carried away, he was a twat. How's Warren?

GORDON: He went back in tonight.

AUBREY: Again? But it's only been -

GORDON: Five days. He's only been out of the lab for 3. This is the 5th time he's been in.

AUBREY: Why's she doing that?

GORDON: It's madness, isn't it? Clive Schill is right. If Warren's what you said he was, when he was in your van, you said he was the most valuablecommodity Overhead could ever have. Why is she putting him at such risk if he's the golden egg?

AUBREY: Gordon, I need to know what she's doing in there.

GORDON: I don't know what she's doing. Not the important stuff, I could never understand it.

AUBREY: But you're archiving for her as she goes, right? Soyou have access to the data?

GORDON: Yeah, she makes me catalogue everything.

AUBREY: Gordon, I need you to get as much of that as possible on to a storage device and take it into the tunnel.

GORDON: What?

AUBREY: You can do it. Say you're...exploring. For your archiving or whatever. Head down the tunnel, goall the way to the reactor housing, leave it somewhere conspicuous.

GORDON: And what's going to happen to it in there?

AUBREY: There's another way into the tunnel. From the other side of the Ballbag.G

ORDON: There's...other mines that were supposed to be connected to it-

AUBREY: So, you've seen the plans then?

GORDON: Yes, but...how do you know they're even built, or safe?

AUBREY: I've been poking around one of them. It went really far.

GORDON: How far?

AUBREY: I don't know, I got scared and came back out again.

GORDON: I don't know about this Aubrey.

AUBREY: Look it's risky enough me even being this close so we can talk over the comm. The weather won't always be able to hide me so well. You can't come out and meet me. And frankly, if we're seriously talking about getting both of you out of there one day, we need to know whet her that tunnel is a viable way in and out of the station. I thought you'd jump at the chance.

GORDON: To go down the terrifying tunnel built from anancient granite mine into the middle of amountain? Yeah… Sounds thrilling.

AUBREY: Gordon, it's not a dungeon. Your end is fine, it's totally safe. It's wired in, there's lights, it's fine. It's a fascinating concept actually.

GORDON: Well, send Grand Designs down there then.

AUBREY: Will you do it?

GORDON: I'm not going down there on my own. I'll take Warren when he next comes out.

AUBREY: But we don't know how long that could be. It could be weeks for all we know.

GORDON: I doubt it. Look, I'm not confronting a genuinephobia of being crushed by a thousand tonnes of rock by myself. Have you ever seen The Descent?

AUBREY: No.

GORDON: Neither have I. For that exact reason.

AUBREY: Very few people get the opportunity to face aphobia as specific as that. It could be a real break through for you.

GORDON: I don't know if I like you, Aubrey.

AUBREY: Or you'll go down in history as the first man crushed to death by a ballbag.

CUT.

SCENE 3

SOME TIME HAS PASSED. WARREN AND GORDON ARE AT THE ENTRANCE OF THE TUNNEL INTO THE MOUNTAIN.

GORDON: And you've got more batteries for your torch?

WARREN: Er... Yes.

GORDON: Did you bring snacks?

WARREN: Snacks?

GORDON: Yeah.

WARREN: How long do you think this tunnel is?

GORDON: It runs all the way into the mountain. Who knows.

WARREN: What's in your bag? I thought it was, like, recording equipment.

GORDON: It's just stuff-

WARREN: Is that a sleeping mat?

GORDON: I'm anxious about it, Warren.

WARREN: This was your idea. We don't have to go in. Whocares what's in there? I'll get the door.

WARREN OPENS THE DOOR TO THE TUNNEL. IT'S MASSIVE AND HEAVY.

WARREN: Oh my God, it's heavy.

GRUNTS WITH THE EFFORT.

WARREN: Oh my God, do you have to speak Parsel tongue to open this?

GORDON: Let me help.

WARREN: I've got it.

GORDON: Look I can help-

WARREN: I said I've got it.

IT FINALLY GIVES AND WARREN DRAGSIT'S HEAVY WEIGHT SO ITS FULLY OPEN. WARREN IS EXHAUSTED AT THEEFFORT.

GORDON: Warren. You've only been out of the lab a day, this is probably really stupid.

WARREN: We don't do these things because they're easy,but because they're hard.

GORDON: Was that JFK?

WARREN: Well yeah… that’s my best impression. This is this is very cool and scary, isn't it?

GORDON: Are you sure you're okay?

WARREN: I'm fine. Are you okay?

GORDON: Prop the door with that bin would you.

CUT.

THEY ARE A LITTLE WHILE INTO THE TUNNEL.

GORDON: Did the lights just flicker?

WARREN: No, it was me, just messing about with the torch.Be cool.

GORDON: I am cool.

WARREN: So. There isn't a prototype small micro-

GORDON: Small modular reactor.

WARREN: Yeah, right. So, there isn't one.

GORDON: No, no, it was just like the seed vault. They built everything for it but never saw it through.

WARREN: Or maybe it was another smoke screen to hide something else.

GORDON: I don't think we'd be able to get in so easily if that was the case. Overhead wouldn't just leave the door unlocked if they had a cloned Triceratops down here or something.

WARREN: But how else would it feed, Gordon. It needs to feed. And it only eats...archivists.

GORDON: Shut up.

THEY WALK ON SILENTLY FOR A MOMENT.

WARREN: So, have you heard any more from, Aubrey?

GORDON: Yeah, I spoke to her the other night. While you're hypersleeping.

WARREN: You know you don't have to whisper down here.

GORDON: Considering how we got in this predicament you'revery laissez-faire about being overheard.

WARREN: What did she say?

GORDON: Not a lot. She mainly wants to hear about you of course.

WARREN: Well, I am kind of a big deal.

GORDON: I'll be honest with you, Warren. We're going down here because I'm leaving a data stick for Aubrey topick up. She wants to see all of Bryony's work onyou.

WARREN: What? That is wild!

GORDON: She wants to know what is happening with you so she can help. Are you angry?

WARREN: Why would I be angry? That's some covert shit. I thought it was a bit mad to be coming down herefor a day out when you're clearly bricking it.

GORDON: I just thought. I mean it's your confidential information, you know.

WARREN: I think we're a bit past that, aren't we? How is she collecting it?

GORDON: Well, she says there is another exit. It must be one of the disused mining tunnels from the other side of the mountain. It's much further from her end but she's confident she can make it.

WARREN: Wow. All of this going on while I'm in hypersleep.What else do you guys get up to?

GORDON: Nothing really. When you're frozen and everyone else is gone it's a bit...

WARREN: What?

GORDON: It’s… just nice to talk to someone.

WARREN: Right. I mean… I hoped the tortoise would be good for you but, I appreciate she probably doesn't talk very much.

GORDON: Hey, look I trust Waffles. I still don't know if we can trust Aubrey. We don't know her. Not really. I just think we have to take the risk.

WARREN: Sure. Why not. I don't think anyone knows anyone to be honest.

THEY WALK ON A LITTLE LONGER.

WARREN: Would you rather have the head of a dolphin, orthe tail of a dolphin?

CUT. THEY'VE REACHED THE END OF THE TUNNEL. A FAIRLY LARGEHOLLOWED OUT SPACE. THEIR VOICE SECHO A BIT.

WARREN: I think, this is it.

GORDON: Yeah. Great isn't it.

WARREN: I guess. It’s got a kind of Batcave feel to it.

A RUSTLE OF BISCUIT WRAPPERS.

GORDON: Custard cream?

WARREN TAKES ONE.

WARREN: So, it doesn't...do anything else. It's just this emptyspace.

GORDON: Well, I mean… it's not empty. Look, this where the reactor was going to go. You could deliver it ona couple of trucks, trolley it down here, assembleon site. It could run the station easily, the plan wasit could actually run a whole community. That's what the pamphlet said anyway. Maybe it was allmade up.

WARREN: Yeah right, So, umm… where are you going to leave all my deepest, darkest secrets?

GORDON: Oh yeah.

GORDON PULLS OUT A BAKED BEANT IN.

GORDON: In one conspicuous tin of baked beans.

GORDON PULLS OUT ONE MORE SMALL PACKAGE.

WARREN: Wait, is that one of our Bakewell tarts?

GORDON: You said she liked Bakewell tart.

WARREN: I said she gave me Bakewell tart.

GORDON: Do you want me to take it back?

WARREN: No. Can we go? I'm cold.

GORDON: Sure.

CUT. THEY'RE WALKING BACK. WARREN STOPS WITH A COUGHINGFIT.

GORDON: Are you okay?

WARREN: Yep. Just hang on.

GORDON HAS SHONE HIS TORCH DIRECTLY AT WARREN.

WARREN: Hey, just get your torch out of my eyes.

GORDON: You're coughing blood.

WARREN: Oh. It’s just a little blood.

GORDON: Warren.

WARREN: Look let's get back.

GORDON: Warren, we need to talk about this. While we'reable to.

WARREN: What do you mean?

GORDON: I don't know when we'll get a chance to talk without Bryony on your shoulder while you're... well, while you’re in a good mood.

WARREN: In a good mood?

GORDON: You know what I mean.

WARREN: I don't want to do this.

GORDON: You don't want to do this? How do you think I feel?

WARREN: Yeah, you seem like you're having a really bad time.

GORDON: What?

WARREN: Don't pretend this whole set up isn't your dream job, Gordon.

WARREN BEGINS TO WALK AWAY.

GORDON: Hey! I've spent the last few weeks scared out of my mind. For both of us. And all of the time I've been trying to...manage you. You're happy as Larry one minute, furious or upset the next. I've heard you scream in the night, I've heard you crying in the mornings. Do you think this is fun forme?

WARREN: Plenty of material for your archive, Gordon.

GORDON: I watched you run a scalpel through your ownhand! And you barely flinched. I watch you over and over, you walk off to go back into that pod not knowing if you're going to come back out again and there's almost a spring in your step. It's obviously affecting you. Look… you've lost weight,you're pale as milk, you're coughing up blood.Bryony treats you worse than a lab rat. I… I just don't understand. Do you want...do you want to not make it out? Is that it?

WARREN: How's your memoir coming along?

GORDON: What?

WARREN: Your memoir, the one I found in the car on the way here. Do you remember? What was it called?

GORDON: Why do you want to talk about that?

WARREN: What was it called?

GORDON: Warren-WARREN: It was called 'You Can't Freeze a Soul-My Journey Into The Cryonic Void'. Would you care to elaborate on that choice of title?

GORDON: Warren, look, I never thought successful cryonic preservation could exist, I thought it was a joke science-

WARREN: I would love to hear your ruminations on the nature of my soul, Gordon. Or do you just think I don't have one. Like every other nameless convict thrown on Overhead's conveyor belt of horrors. Don't tell me you don't lean in when Bryony starts using those long words. Don't tell me, that if the chips hadn't fallen a little bit differently, I wouldn't be just another tape for you to play to a different schmuck from Accounts in that fucking car park in the rain. If there is a spring in my step when I goin to the cryo suite, it's because when I get in that pod I go nowhere. I think of nothing. I simply am not. And every time I go in, I have that sliver of hope that if I do come out, the world might be a different place, and I might be a different person. I thasn't happened yet, so yeah, sometimes, I am pretty disappointed when I come round. I'm sorry if that's bummed you out a couple of times on the way for your morning slash.

SILENCE.

WARREN: Yeah, I'm done, do you want to storm off or shall I?

GORDON: You can go.

WARREN: No, no, you don't like being down here on your own. You go.

GORDON: Okay.

CUT.

SCENE 4

AUBREY IS MAKING HER WAY OUT OF HER END OF THE TUNNEL. SHE ISEXHAUSTED AND ELATED.

AUBREY: Oh thank God! Daylight! Sweet overcast freezingdaylight! Right, right, so-

SHE PULLS OUT HER PHONE TO LOOK AT HER MEASUREMENTS.

AUBREY: - that was 2 hours to get in, 1 hour 40 to get back,17,464 steps. Jesus.

SHE DRAGS HERSELF BACK TO THEVAN, PARKED AT THE MOUTH OF THE TUNNEL. SHE GETS IN, REMOVING HERJACKET AND HAT, COLLAPSING INTO ASEAT.

AUBREY: Bloody hell. Right. It's 15:30. I have the data. I'll look at it now.

SHE PAUSES.

AUBREY: Actually, I'm going to have a nap. And then I'll look at it.

CUT. HOURS HAVE PASSED. QUIET IN THE VAN. IT'S NIGHT. SUDDENLY THE COMM BURSTS TO LIFE, WAKING AUBREY WITH A START.

GORDON: Aubrey? Aubrey?

AUBREY: Christ, what time is it...

SHE LURCHES TO TURN ON A LIGHT,KNOCKING A WATER BOTTLE OVER WITH A CLATTER.

AUBREY: Shit. Hello? Gordon?

GORDON: You're there.

AUBREY: Yes, I'm here. Sorry, I fell asleep. What time is it?

GORDON: It's a little after midnight.

AUBREY: Midnight?! How the hell is it...bloody hell, I was more tired than I thought. Gordon, Gordon, I did it.I've got it. I've got the data.

GORDON: That's brilliant Aubrey

.AUBREY: I haven't looked yet. But I'm all over it. I've had my nights sleep already apparently. But the tunnel is almost completely safe, it's a bit twisty and turny,and a bit dark and spooky, but it's there, it runs stranger into the reactor room. Or cave, orw hatever it is. And there was your bloody baked bean tin! I sat and ate half that Bakewell tart on the spot. Thank you, Gordon. It must've been hard.

GORDON: Yeah.

AUBREY: Gordon, wha… what's wrong?

GORDON: She put him back in again.

AUBREY: Oh, God.

GORDON: We got out of the tunnel. We'd had a falling out.I'm just trying to look out for him, Aubrey, he was coughing up blood. I should never have taken him down there, it was just because I was too bloody frightened to do it on my own...

AUBREY: What happened?

GORDON: She was waiting for us. At the entrance. Told us off like we were kids staying out too late. I tried to protest but they acted like I wasn't even there,trying to stare each other out. And off they went.He's already in the pod.

AUBREY: We're going to do this, Gordon. We're going to save him. Alright?

GORDON: Alright.

AUBREY: We can do this. You and me.

GORDON: Alright.

AUBREY: I mean, mainly me. But you can help.

GORDON: Thanks.

AUBREY: Well, I'm up now. You want to play cards or something?

CUT.

SCENE 5

2064. AUBREY IS IN THE QUARANTINESUITE.

AUBREY: Stop.

GORD: Would you like me to play the next entry, Aubrey?

A LONG PAUSE BEFORE AUBREY ANSWERS.

GORD: Would you like me to play the ne-

AUBREY: No.

GORD: Would you like to talk about your feelings?

AUBREY: No.

ANOTHER PAUSE.

GORD: There's a patch coming through from Hester.

AUBREY: Sure.

HESTER: Hey. How you doing?

AUBREY: It's after 3, why are you awake?

HESTER: Do either of us really sleep any more?

AUBREY: Your shift's at 7 though.

HESTER: How is he?

AUBREY: Warren Godby has been out for the count for the last 4 hours. I have been watching him snore for a very long time. Thank God the quarantine glass isso thick.

HESTER: How'd the evening go?

AUBREY: The same. Still confused. I thought it wouldn't take this long for him to come round.

HESTER: Hey, don't start that big brain going. We knew it was going to be a different emergence to any other. He'll be fine. It's just taking longer.

AUBREY: I know. I want you to sleep, okay?

HESTER: Okay.

AUBREY: See you in a bit.

HESTER: Goodnight.

HESTER PATCHES OFF.

AUBREY: Alright, Warren. Visiting time is over. Time for cards with Gordon.

AUBREY GETS UP FROM HER CHAIR WITH SOME EFFORT AND WALKS TO THE DOOR. SHE PULLS IT OPEN AND WALKS A SHORT DISTANCE DOWN ANECHOEY CORRIDOR TO ANOTHER ROOM. THE CRYOSUITE. SHE HAS TOUSE A FINGERPRINT READER TO ENTER. SHE PLACES HER FINGER ON APAD AND IT BEEPS. GORD'S VOICE IS ECHOEY IN THE CORRIDOR.

GORD: Fingerprint verified. Wood, Aubrey Jane.Cryosuite.

THE DOOR OPENS WITH A HEAVY CLUNK.

AUBREY: Feels a bit much.

GORD: You're responsible for setting up security, not me.

AUBREY: Good point.

SHE STEPS FURTHER INTO THE ROOM. LITTLE BEEP BOOPS IN THE BACKGROUND.

AUBREY: This is weird.

GORD: Which part?

AUBREY: I haven't been in here since I changed your voice.I'm looking at Gordon in his cryopod and talking to him at the same time.

GORD: You're talking to a vir-

AUBREY: Yes, I know. But you understand how that might beweird.

GORD: I appreciate the dichotomy.

AUBREY SIGHS IRRITABLY AND WALKS AROUND THE POD TO ASSESS IT.

AUBREY: How are his readouts doing?

GORD: The self-diagnostics on Gordon's cryopod repeatevery 12 hours. Nothing has been outside of acceptable parameters.

AUBREY: And the generator, how's the backup?

GORD: Grace carried out the monthly backup generator service on the 30th with no issues. This was in last week's report.

AUBREY: Yes. Thank you.

PAUSE. AUBREY SPEAKS A LITTLEQUIETER, DIRECTLY AT THE CRYOPODIN FRONT OF HER.

AUBREY: I know all the fuss is going on in Quarantine next door. I just don't want you to think we've for gotten about you, Gordon.

SHE PULLS A DECK OF PLAYING CARDS FROM HER POCKET.

AUBREY: Right. We're going to play Bastard.

GORD'S VOICE HAS REMAINED NEAR THE DOOR RATHER THAN COME CLOSER. HE RAISES HIS VOICE A LITTLE TO REACH HER.

GORD: Did you know that card game is also called Shithead?

AUBREY: Did you know that you are also called Shithead?

GORD: Would you like me to play the next entry, Aubrey?

AUBREY: You know me too well.

SHE DEALS.

END.

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