Week 2 – Shakespeare’s “The Winter’s Tale” – Hermione’s arrest and defense at trial – The Rehearsal Room [Video, Audio, and Transcript versions]

Shannon
And a quick reminder, if anyone, I’m leaving early today.

Geoffrey
Yes. That’s just, that’s what I was just about to get into. Shannon has to leave us a little early full screen and it’s 6, 6 20, you have to go, is that right? Yes.

So, so to that end, I would actually, since Poor Hermin has to wait all the way through these scenes all the time. Anyway, I’m, I’d like to start with your stuff and then we’ll go back because we, when we were last week, we got through your section as I recall.

So let, let’s, let’s do the, oh, what is that? The Act three, scene two stuff first and then, and then we’ll, and I mean, that, that shouldn’t take, it won’t take up to six 20 by any means. And then we’ll go and, and look first at the end of this, the main scene we’re working on, Paul, which is act two, scene one. So we’ll basically start with your stuff so you can get a good crack at it, and then go back and see where we can start all over again.

Does that sound reasonable? Good. No objection.

And we’re going into act three, scene one, and stopping where we’re doing Act three, scene one. It, it won’t really, oh, act three, scene one.

Gideon
No, act three, scene two, I think.

Geoffrey
Act three, scene two.

Paul
I see.

Geoffrey
It’s, it’s really only Leones and Hermione. And it was to give, to give Hermione Shannon a little more to do.

So let’s, let’s start with that. But before that, I, is there anything anyone wants to say? There’s some, some great revelation that came to you in the shower over the weekend that has to do with the play, just Oh, do with what we’re working on.

Paul, do you have any questions, sort of general things that you wanna ask, but that you think we may have left you behind on?

Paul
No, I think not. I think I listened to, I watched and listened to last week’s wonderful exchange and no, I don’t think so. Good. My, some of this stuff opened my eyes to certain things, and I think my questions will come up as I’m, as I go through it and dig in deep questions will arise. But none right now, I don’t think.

Geoffrey
Excellent. Excellent. I’m, I’m glad you watched it. I was, I tried to read the transcript and it makes me, in particular, ’cause I talk so goddamn much, but almost everyone except Gideon course sound. Try not to feel self-conscious that it’s transcribing what you’re doing tonight too. Yeah, I well, I’m, I’m just gonna give up on it. It, it makes me sound like an idiot. It’s, if you read it, you know, you don’t get the essence. I’m an actor. You have to. Yeah. Anyway, I’m glad you watched it.

Gideon
But can I just tell Paul that the line numbers in three two that we’re doing are 71 through one 16, just so you, just so you know where it’s.

Paul
Thank you for that. I just tried to copy 71 through one 90.

Shannon
Is it one 16 or is it 1 23?

Gideon
Wait.

Paul
1 23 Would make more sense. Oh.

Gideon
It’s, it’s, I’m sorry. I was looking at my Yeah. Other edition. You’re right. It’s, it’s actually whatever the whatever whatever line it is where she says, Apollo be my judge.

Geoffrey
Right.

Paul
And does it start with more, more than mistress of which comes to.

Gideon
No, it starts with Now for conspiracy.

Geoffrey
Which is in the middle of her big speech there, it’s about line 75. It’s the middle of line 76 actually.

Paul
Got it.

Geoffrey
Our stuff.

Gideon
Sorry about that. I forgot that the Foer number line numbering is different from the Arden. So.

Geoffrey
So, okay. Yeah. We’re they’re all, it’s all close enough. But along those lines, speaking of lines, as I was looking at this, I would just once that, that’s what I want to do, that’s what I wanna work on. But I would just once like to give the two of you a li a little s a little more still of this scene because it occurs to me. Well, I, I’ll tell you, I’ll tell you what I’ve done reset Chris and Shannon. Paul, I’ve worked with Chris and Shannon before. So they, they may be familiar with some of these little thingies that I do. One of ’em that I like to do is go through the script and literally make a line and, and name the beats or the sections.

And there it’s, it’s not written in stone. It’s might take on what’s going on in a sort of larger sense over a certain chunk of text. It’s usually maybe half a page. Sometimes it can be, you know, just a couple speeches, but it tends to be a page or so let’s say, for lack of a better term, of, of what the, the whole thrust of the scene. Now each character in it will have her or his own particular objective.

And those are things you can work on and we can agree on or not agree on. I don’t think everybody always has to agree on everybody’s objective in a scene, but I do think that we want to have a feeling of what is going on in these chunks. So I have given some names to these things. I’m gonna tell you where they are and the names I’ve picked, and we can, we, we can start with that and we can discuss it more later. But let’s start with these, and to that end, let’s start this scene today just so you can get a little more of a feel for it. Let’s start this scene with,

at the top of this page that I have with Leone’s line.

Oh, it must be like 55 Iair. I never heard yet that any of these bold devices wanted less impedance to gain say what they did than to perform it first. Do you see that line, Chris? Oh, I.

Chris
See it. Yeah.

Shannon
I didn’t print it, so I just have to pull it up on my screen.

Geoffrey
Yeah, gi give yourselves time to look at this. And you know, for you guys, it’s gonna be a bit of a cold read.

It’s fairly straightforward though.

Chris
I only have the printed.

Geoffrey
You only have the printed thing. I.

Chris
Don’t, I don’t, I, yeah, I mean, I, I have a, I have a sense in the scene of what’s leading up to this, but, but I’m just for my own.

Geoffrey
Well, let’s, let, let, let’s.

Chris
Sorry I stopped. I, I I I don’t know why I’m saying that.

Geoffrey
Where, where do you have it printed from? Where do you have it from?

Chris
That’s just where we’re starting the scene. So.

Geoffrey
Where, where do you have it from?

Chris
No, I, I, I have, I I I near heard yet that any of those bold devices wanted less impedance. I have, I have that. I’m just, it’s sort of coming out of nowhere. That’s all. But that’s okay because we’re just starting there to lead into the text we’re doing. Yeah.

Geoffrey
We’ll stop talking. That’ll, this’ll do. You’re talking, you’re, you’re talking about her being a bed swer. Yeah.

I named this, I started this chunk there again, just for argument’s sake with, with Leone’s line. And it goes through

the end of Hermione line, about eight pa, about line 81, wanting no more than I are ignorant.

And I named that chunk answering the charges, because you’ll see her’s answer to what you have put out here is a fairly straightforward response to the charges you, you’re giving her with giving her from line, from your next line, from Leones, you knew of his departure, as you know, which you have entertained to do in, in absence

through look for no more l look for no less than death. That’s line 97.

So from un of his departure through death, I’m calling upping, upping the ante.

And in, I just put to a death sentence. I mean, you’re, we’re going from an accusation to a, a certain, a certain death sentence.

And also in parentheses, I put going beyond reason.

He’s really going out there, but upping the ante is enough.

And Hermione, I named your speech from, from service barrier threats on, on to giving over to the gods. It could also be resigning. I don’t like the word resigning because that has the kind of,

it’s less active than I than I like the word giving. But the idea is, you, you are giving yourself Apollo be my judge. It’s that right?

Which, and the reason I wanted to do this, this whole bit that we’re about to do is because it’s very reasonable at the beginning. He gets so unreasonable. You answer him. And the only way you can by going to the highest authority, who is, and, and you know, we we’re living in, in, in this period, period we’re at Shakespeare’s period. We’re still talking about the, the divine right of kings. It’s being questioned. And the Magna Carta was, you know, hundreds of years before. But kings and gods were, and God for the, for Shakespeare and his contemporaries were, they were inextricably intertwined and that that continued on. And Gideon, you can stop me any time that I get too far off here. I will if necessary. Oh, thank you.

This obviously Winter’s tale is in a pre-Christian time, but the idea of invoking a, a God in relation to a ruler is, is is something that, that is alive in the minds of the people who are hearing this play.

That’s sort of the progression of the scene. So I’m, I I’m glad I saw you guys writing these things down. As I said, we can talk about them, change them, but those are the chunks I’ve seen to begin with. So having said, pardon, can you writing them.

Paul
Down, Jeffrey, what was the name of the second one? Something Death.

Geoffrey
Upping the Ante.

Paul
That, that’s the one that goes down to the line. Look, no, look for no less than death.

Geoffrey
Yes.

Paul
And what was the name of the first one?

Geoffrey
Answering the charges.

Paul
Entering the charges. Got it. Thank you, sir.

Geoffrey
So let’s just have a go at it nice and easy, but with those kind of, those three shifts in mind as to how the, how the scene’s progressing.

Whenever you’re ready. Okay.

Chris
I near heard yet that any of these bolder vices wanted less impedance to gain, say what they did than to perform it first.

Shannon
That’s true enough though is a saying, sir, not due to me.

Chris
You will not own it.

Shannon
More than mistress of which comes to me in name a fault. I must not at all acknowledge for Publicities with whom I am accused. I do confess. I loved him as in honor. He required with such a kind of love as might become a lady like me with a love, even such so and no other as yourself commanded, which not to have done, I think had been in me both disobedience and in gratitude to you and toward your friend whose love had spoke even since it could speak from an infant freely that it was yours. Now, for conspiracy, I know not how it tastes though it be dished for me to try. How all I know of it is that Camillo was an honest man and why he left your court, the gods themselves wanting no more than I are ignorant. You.

Chris
Knew of his departure as you know what you have entertained to do in his absence.

Shannon
Sir, you speak a language that I understand not my life stands in the level of your dreams, which I’ll lay down.

Chris
Your actions are my dreams. You had a bastard by pules and I, but dreamed it as you were past all shame. Those of your fact are so, so all surpassed all truth, which to deny concerns more than avails for as thy bratt have been cast out like to itself. No father owning it, which is indeed more criminal in the than it so thou shall feel our justice in those in whose easiest passage look for no less than death.

Shannon
So spare your threats, the bug which you would frighten me with, I seek to me, can life be no commodity. The crown and comfort of my life. Your favor, I do give lost for I do feel it gone, but no, not how it went. My second joy, the first fruits of my body from my, his presence, I am barred like one infectious.

My third comfort starred most Ali is from my breast. The innocent milk in its most innocent mouth hailed out to murder myself on every post proclaimed a trumpet with immodest hatred. The child bed privilege denied, which longs to women of all fashion.

Lastly, hurried here to this place of the open air before I have got strength of limit.

Now my le tell me what blessings I have here alive that I should fear to die, therefore proceed.

But yet hear this mistake me, not no life. I prize it. Not a straw, but for my honor, which I would free if I shall be condemned upon surmises, all proof sleeping else. But what your jealousies awake, I tell you ts rigor and not law your honors. All I do refer me to the oracle Apollo, be my judge.

Geoffrey
Very nice questions.

She reactions.

Shannon
Bug is such an interesting choice of word.

Geoffrey
Bugaboo.

Gideon
You could think of it as meaning bugaboo or bug bear.

Shannon
It’s just, it’s got like this sort of, even bugaboo has this sort of childhood scary story. I mean, yeah.

Geoffrey
Interesting. Also, you know, in the earlier scene he uses the, the image of a spider in the drink that, you know, if you know it’s there, it kills you or it makes you vomit. And if you don’t know, it’s, it’s doesn’t scare you at all.

We, we, we, I I don’t know if, if the little boy Maus mentions it, but it, it does seem like a childlike term. And, and it brings

it, it brings up that image of a child.

Gideon
It’s, it is treating him as a child in a sense.

Geoffrey
Yeah.

Paul
My question about that line, if I’m allowed to comment and ask questions of a, of a, of a scene that I’m not in.

Geoffrey
Sure, as long as you’re not directing people.

Paul
Is not so much the use of the word bug. Because it also in my, in my ear as an audience member brings up up feelings like annoyance or nuisance, which, which is what a bug is. But she says, the thing you’re trying to threaten me with, I I am seeking it, that I always found a curious line.

Geoffrey
Yes, it’s, it’s great. As, as you say, it’s a minor thing. It’s a nothing. It’s a, it’s a, it’s a bug. And then she compares it almost immediately to a crown, to her joy. The first fruit. I mean, it’s, it’s a little nothing compared to to all the things she’s lost.

Gideon
It’s a, it, it’s, it doesn’t, he doesn’t mean bug in the sense of an insect. He means a false terror. An imaginary terror. So that’s the primary meaning of the word. You’re right. That it has that other association for us. But I don’t think it did necessarily for Shakespeare’s audience.

Paul
But, but my my curiosity is why does she say that she seeks it and then she basically says, my life is not worth anything anymore. So is she talking about death?

Gideon
Yes. Yes.

Shannon
Yeah. He says the bug is death is the death.

Geoffrey
He says, he says, no, look for no less than death. I mean, it might be more, it might torture you first, but you’re gonna die for what you did.

And, and the interesting part or interesting thing, Shannon, for you, is when, when do you, when do you make this shift from, from trying to answer the charges, which is what happens in this first, this first speech that, that I I’d like to look at in a little more detail.

You, I mean, you’re, you’re dealing with actual things, you know, the departure of Camillo. It’s not a, it’s not a spiritual question or anything like that. It’s like, I, I don’t, I don’t know what you’re talking about. And, and she literally says, you, you speak a language I do not understand. And, and what’ll be interesting for the actress to investigate it is at what point does Hermione decide that death is that, that she’s, again, I, I hate to use the word resign, but, but that she’s willing to accept death. It’s, it’s a kind of, it’s, it’s part of her upbringing too. I remember. She is, she is the daughter of the empress of Russia and things like that.

These are people, at least as far as we know in the plays for who, for whom, you know, there, there were honorable deaths. There was an honorable way to, to go about that. It wasn’t something always to be afraid of.

Shannon
Well, and I think she, I mean, she’s very clear that she is willing to accept death, but she’s not willing to accept the loss of her honor. Yes. And that def defending herself against the charges at the beginning of the scene is still important because if she is going to die, she wants on record what her defense is.

But once death is on the table, it’s, it’s sort of, it’s sort of flipping the book and saying, here’s all the things you’ve done to me. You think death is scary.

Why is death? Why is, why, why do you think death is scary?

You, you’ve, you’ve taken away all the things that I was living for.

Geoffrey
E Exactly. And I think what if you’re alive that I should fear to die? That’s, I mean, it, it could, I mean, the, the, the antithesis there could hardly be clearer.

And, and I think it helps Herman, it helps you if that, you know, the resignation does, it does. It’s not there in that first speech. The first speech is a, is a, a sort of a legal brief almost.

So you, you, you, in the sense of answering the, the charges, the reason you’re answering the charges is maybe you can still change his mind. Maybe he can, maybe he still pertains to reason in some way.

But when it becomes clear that he doesn’t, you move to a whole, it seems to me you move to a different plane, a a plane of, it’s not about facts anymore. It’s about my, my sacred honor.

You know, it’s, it’s, it’s important to these people. How, how you die. It’s, Gideon has this great thing and it’s a, it’s a central, central turning point in Hamlet that he can, he could settle everything by killing Claudius when he is at prayer. Right. He could, he could do it. Now, might I do it, pat? I can do it. I can, I can do it. Oh, no, I can’t because he’ll die well won.

Gideon
I won’t.

Geoffrey
I won’t, I won’t do it.

Gideon
Because I won’t want him. I won’t, I don’t want him just dead. I want him damned. That’s the key. Yeah.

Geoffrey
I want him damned. So the way he dies is, is important. It, it, it means something to these characters and to the people who are again, hearing it. So let.

Gideon
Just, can I just add that she, I will probably say this too many times, but she’s always associated with grace, with the word grace and the idea of grace, and the fact that she emphasizes honor, she believes in eternal values. She believes that the honor will live on that. It matters to her children, her descendants. And I think she also doesn’t, she, she, this isn’t explicit, of course, but she doesn’t think of death as nothingness because she doesn’t think of anything as nothingness. There’s the, she lives in a moral universe where it matters how you die. It matters how you live. It matters what you live for. And therefore, the dying a death that is not dishonorable is much preferable to, as you said, Shannon, living a life without all the things that give life its meaning.

Geoffrey
Right? Right. And

yeah, all of that. And the, and the, the sort of actorly thing that I think is fun for you is always to

never get ahead of yourself. Not that you should, but you know, her mind. You know, we always think of her mind as, you know, the embodiment of grace and intelligence that she doesn’t, she doesn’t weep.

She says in the earlier scene, because her, her, what’s burning in her extinguishes, the weeping, she’s, she’s strong and there’s a certain serenity to her, all that statue stuff. But she is still, and this is always the most interesting thing in Shakespeare, she’s trying to figure out what’s going on until she realizes that she has to take her own course.

Which is why I wanted to do this again, this, this whole scene. So you had a chance to feel in these, whatever it is, 15, 20 lines here,

more than mistress of which comes to me in name of fault. I must not at all acknowledge. And then you do it this, then you, you name, you, you enumerate this.

I loved him as an honor with the kind of love might suit a lady like me. A love that you yourself commanded. Those are three different things. I mean, it’s the, it’s the traditional, you know, iron rule of three. You lay out three things in answer to that.

And then give him a little, it’s a, that that little scolding thing is almost a sidebar. You know, you commanded me to it. You guys were like that since kids. I don’t, you know, what, what’s going on here? And then, and now for Copi. Then you just move on to the next thing. Conspiracy is another thing. You said, you said, I’ve conspired with Camilla. Let me answer that. All I know is Camilla’s honest, and he left. I don’t know, I do not know anything more than he, he, he says, you did know. And it’s just, I don’t know what you’re talking about. It doesn’t make any, you’re, you’re dreaming this in his answer. And Leoni is, I think this helps her. If, if your, your actions are my dreams.

You had a bastard about es If you are sort of just barely hanging on to reason at this point.

There’s ear earlier in here. Oh yeah. She says that’s true enough though. Tis a saying, sir, not due to me. You, you will not own it.

I’m not, I think that you, you could perhaps play with how he does that. I mean, is it a question or is it a sort of outrage statement?

It’s like you’re not, you’re not admitting what’s true.

Maybe I.

Chris
I mean I I’d say at, at this point, I don’t think he would, I don’t think it would be a question at this point. Yes. So.

Geoffrey
Or it could be or it could be a.

Chris
It’s more, it’s more like that’s just another infraction. That’s just another part of her treachery. It’s like, you know.

Geoffrey
Oh my gosh. Oh, oh.

Chris
It’s, it’s, yeah, it’s, it’s, it’s part of her stuff. But if you’ll excuse me for a minute, I think I’ll be right back.

Geoffrey
Okay.

Chris
I’m gonna stop the video for a sec.

Geoffrey
Okay.

Shannon
I’m just trying to backtrack because I wanna understand Leon’s first line that I agree with by saying that’s true enough. That is a saying, sir, not due to me. What is he, he, he’s referring to something that I’m talking about by saying I near heard yet that any of these boulder vices, do we know what’s it’s.

Gideon
It’s first, it’s difficult ’cause he is speaking in double negatives. And these doesn’t refer to any specific ones. He is, he means vices, bold vices in general. Okay. Any bold vices, anybody who’s committed a bold vice does not lack the impedance to deny what they did.

Or no less impedance. It takes no less impotence to deny what you did than to do it in the first place. So he’s saying, yeah, I, you’re denying this. That’s because since you had the boldness to do it, you would have the boldness to deny it. Okay. Okay.

Want it means lacked. So, so they didn’t lack less impedance. They didn’t lack less impedance to deny what they did than to perform it in the first place. They had plenty of impedance to deny it because as much as they had to do it. So yeah, you don’t wanna get tied up in the negatives.

Geoffrey
Her, her speech before this is, is a, a long answer to his, to the actual indictment.

Leoni says, read the indictment and an official reads a lengthy indictment of what you did according to Leon. And you, you say, well it’s, it’s gonna hardly do any good to say not guilty.

You’re holding it against me.

You, you, you say

it’s wrong that I’m here, you know, a fellow of the royal bed to stand around and talk about how innocent I am. I, I say I owe a mo I owe a moie of the throne, which means I owe, what is it, 10%? Is that a moiety I owe?

Gideon
It just means a portion.

Geoffrey
I owe a portion of the throne.

Gideon
It sometimes means a half. But yeah.

Geoffrey
That’s right. I’m a great king’s daughter. The mother to a hopeful prince. I’m standing here to pray and talk for life and honor for anybody who comes to anybody who wants to stand around and listen to it.

She’s, she says, I, she’s basically saying, I absolutely did not do any of these things. Look at who I am. Look at the way I’ve been for my entire life. And his answer is, yeah, that’s what people always say.

It doesn’t take any boldness to say you’re innocent.

Gideon
He reduces every, all, all her arguments to just gain saying what she did, just denying. Yeah.

Geoffrey
That’s all. I just, no, he doesn’t.

Gideon
Hear, he doesn’t hear the details. And this is, so there’s a correspondence going on between the wildness of his accusations and his, the, the spreading effect of them and his incapacity to register the particulars of what she’s saying. He, he can’t hear them ’cause they don’t fit his dreamlike or benighted picture.

Geoffrey
Something we should be so familiar with these days. It, it seems hard to believe, but that’s, that’s what he just keeps saying. I mean, she, I don’t know how long that speech is. It’s, you know, 30 lines or so about sort of answering the accusations and saying who she is, and he just says, well, yeah, you, you are impudent in doing the act. You could certainly be impudent in denying it. Impudent is a good word too, because it’s makes it, it, it makes it, I don’t know, impeded makes me think of naughtiness, you know?

Gideon
Right. It’s the opposite of the chastity that she’s claimed in the speech.

Geoffrey
Yeah. Great. Exactly. So I think that’s that’s true enough. Is another one of these lines that’s, i i I think she’s almost baffled at his answers. I mean, who, who am I? Yeah, that’s true. That’s an old saying. That’s like a stitch and time saves none that nothing.

Gideon
To, but it’s also true of people who are guilty. It really is true of people who are guilty. Yeah, she’s not.

Geoffrey
That’s right. She says that’s true enough. It’s a good saying. It has nothing to do with what do that’s it has nothing to do with me.

And, and he says, well, it’s only ’cause you won’t, it’s only ’cause you won’t confess to it.

Gather yourself together and answer him again in by rote almost.

He says, no, you did this, you did this. I don’t understand what you’re talking about that I just wanted to give you this, this part of the scene anyway, to get up to the point where you’re capable of saying in a way, I would rather die than keep going with this. It, it’s not gonna, I, I’ve, I’ve laid out the facts so many times, you know who I am. You’re just saying no, then take my life. But you cannot take my honor.

You cannot take my honor. That’s, and that happens somewhere in here. And that’s, that’s, you know, that’s for you to play with it to see what happens.

You okay Chris? Alright.

Chris
Yeah. Just this, this just spontaneously fell off the wall, apparently.

Geoffrey
Oh God.

Chris
Which is, is it, what is it? It’s a, it’s a, it’s a, it’s a vase.

Geoffrey
Oh.

Chris
It’s, it’s by a, it’s by a potter from Seattle who’s a friend of mine. And I really love it. It’s like, it looks like bamboo and it’s.

Geoffrey
Bamboo.

Chris
Yeah. But it’s a, it’s a, it’s a Japanese style of pottery that she’s really good at.

Geoffrey
Well, but Right fixable. All right. It’s scared. It scared miles.

Chris
Though. ’cause it just fell off the wall right next to him. Yes.

Geoffrey
You’re like, what did you question Paul? Or observation.

Paul
A question about Harmione’s final speech when she’s listing all the things that have been done to her pro. And then she says, proclaimed a trumpet. And then w then she says, the childhood privilege denied with Imma hatred, which longs to women of all fashion.

Is she saying women, all women long to hold their newborns in the child bed?

Geoffrey
Shannon.

Shannon
My understanding.

Geoffrey
I’m gonna let you answer.

Shannon
Yeah. Okay. My understanding of that line is that no matter what you’re stationed in life from a queen to a servant, you are given time to be in bed and rest often usually with your child after giving birth. But instead she is here in a courtroom.

Paul
So longs in this.

Geoffrey
And longs is belongs longs, below longs. Exactly that.

Paul
Right. Belongs. And when she says, of all fashion, is she including even a trumpet would have this or not.

Gideon
Even a trumpet if she’s giving birth. Yes. Yeah.

Geoffrey
Good question. Question. But yes, I love that Gideon both did exact same thing. It’s all, all, all stations, all fashions all.

Paul
So she’s saying even if you’re calling me a trumpet, even if you believe I’m a trumpet, I should still be allowed to hold my newborn in my bed in the, in the bed. Okay.

Gideon
And not be, not be sent into court when I’m still recovering from childbirth.

Geoffrey
Yeah. And he’s.

Gideon
It, it just re she, not intentionally, but the line is reinforcing the blindness of Leon’s to what he’s doing to the reality of what he’s doing.

Geoffrey
Great. Let’s, let’s go through this again just for fun, just to make sure we have a couple of cracks at it.

I wrote a couple of things down here.

Gideon
I’ve got one I think. Yes. While you’re looking what you wrote down Shannon at, at line one 20, what, what your jealousies awake, you’re, you’re building to the climax, I tell you to his rigor and not law. And then Apollo would be my child. So I would hit that jealousies hard. It’s like you’re summing all this, you’re summing up everything that he’s done to you and recognizing the cause is nothing in reality, but only his, his suddenly appearing jealousy. And it’s an accusation. It’s the first time she’s really saying to him, it’s not the first time, but she’s now accusing him.

This is your jealousy and this is rigor and not law.

So that’s, that’s the punch that she needs to give to defend her honor.

Geoffrey
Here’s, I just wanted to reiterate what I said before, Shannon, about this speech four. It’s great ’cause you, you go four pules and then later on you go four conspiracy. So four pules.

I do confess, and I think you can really think of it this way. One, I loved him as an honor. He required two with such a love as might be that, that, that, that a lady like me and three with a love even such, just give yourself a little ladder to climb there

because each of those

one, one isn’t general, it’s it, you know, you, you know, I’m not gonna explain every bit of it. Yeah. I, I heard something which I, I think I might wanna encourage in, in terms of meter and rhythm and all of that.

I, I know not for now for conspiracy. I know not how it tastes. Strikes me as, oh, I, I’ve forget the term of, of art for it, Gideon, where every one of those can be a stressed syllable.

I think it, it, it helps with you. You’re kind of rhythmically slapping in the face.

Gideon
It’s ponies. You’re talking about spon.

Geoffrey
Ponies. They’re ponies. They’re, they’re all stress syllables. Again, this is a bit of a fielder’s choice, but I think, and it’s.

Gideon
And it’s monosyllables.

Geoffrey
That’s what I mean. It’s monosyllables. It’s like this is your, this is your, this is your final part of the, of answering the charges now, now for conspiracy. Maybe I’ll explain this to you like a child. I know not how it right. It, it just gives you a chance to really kind of shake up the rhythm a little bit.

I think there’s a reason that, that he presented that for you.

You can also do it. I know not how it tastes, which is a little more in amic rhythm. I, I just want to present that possibility to you, Chris. Yes.

This line and I, but dreamed w we go, my life stands at the level of your dreams. Your actions are my dreams. You had a best wife flexes and I, but dreamed it. So this is the third dream.

Why don’t you see if you can get more juice out of that, more mocking in it.

Chris
Well, I think I can.

Geoffrey
You had a bastard and I dreamed it. Yeah. A dream that you’re talking about dreams. Ev ev just the

ev. Every time you can touch that horrible nerve that we all have of when you’ve been left or hurt or you know, your partner’s off with somebody else. I mean, and the, the more graphic you can make it in your own mind, the better the the, the more you see those two together, the better.

Gideon
I think. I think that it could be bitter sarcasm too.

Geoffrey
Yeah. Yeah.

Gideon
Not, not so much the question. Are you really saying that? I just.

Geoffrey
Oh.

Chris
I don’t think it’s a question at all. I think I, I think it is.

Geoffrey
Sarcasm. Yeah, sarcasm, mockery, whatever the, whatever the right word is. I’m just, I want to give you license to go as far as you want to go. Yeah.

Partly ’cause it’s great for you and it gives Hermione something. The, the more you are beyond reason, the better. I have one question just to save me looking it up. I meant to earlier and Shannon, I I’d like you to answer before Gideon to me, can life be no commodity?

What is commodity?

Shannon
I’ve been using value as a replacement, but in my brain,

but I’m open to other options.

Geoffrey
That’s good. Are are you looking at a, a lexicon?

Gideon
I’m just looking at a note. It’s got profit, comfort, advantage. I can look at a lexicon too, but that’s the idea.

Geoffrey
Yeah, that’s good. Value advantage commodity is, is also, you know, it’s a, it, it’s, it’s a, it’s a basis and like comfort. It’s a given comfort. Okay. Good.

Gideon
Stock or supply or quantity. It can mean or profit or gain or proceeds or.

Shannon
I think it’s less those, but.

Geoffrey
It can be I I i I No stock. Not that you, not that you were doing it wrong. I just wanted to hear it. So let’s stop talking.

Shannon
It’s, it’s an unusual use of that word. Yeah.

Geoffrey
It is. Let’s do it again. It just, everybody take a second to shake your shoulders out and let’s go through this again.

Chris
Shall we? I near heard yet that any of these bolder vices wanted less impedance to gainsay what they did than to perform it first.

Shannon
That’s true enough though. Ti a saying sir, not due to me.

Chris
You, you will not own it.

Shannon
More than mistress of which comes to me in name of fault. I must not at all acknowledge for publicities with whom I am accused. I do confess. I loved him as an honor. He required with such a kind of love as might become a lady like me with a love even such so and no other as yourself commanded, which not to have done, I think had been in me both disobedience and in gratitude to you and toward your friend whose love had spoke even since it could speak from an infant freely that it was yours. Now, for conspiracy, I know not how it tastes though it be dished for me to try. How all I know of it is that Camilla was an honest man and why he left your court the gods themselves wanting no more than I are ignorant.

Chris
You knew of his departure as you know what you have tained to do in his absence. Sir.

Shannon
I you speak a language that I understand not my life stands in the level of your dreams, which I’ll lay down.

Chris
Your actions are my dreams. You had a bastard by Publicis and I but dreamed it as you were all, as you were past, all shamed. Those of your fact are so, so past all truth, which to deny concerns more than avails for as thy bratt has been cast out like to itself. No father owning it, which is indeed more criminal in the than it so thou shalt feel our justice in whose easiest passage. Look for no less than death.

Shannon
Sir, spare your threats. The bug which you would frighten me with, I seek to me, can life be no commodity.

The crown and comfort of my life. Your favor I do give lost for I do feel it gone, but no, not where it went.

My second joy, the first fruits of my body from his presence, I am barred like one infectious.

My third comfort starred most unluckily is from my breast. The innocent milk in its most innocent mouth hailed out to murder myself on every post proclaimed a trumpet with imas hatred. The child bed privilege denied, which longs to women of all fashion.

Lastly, hurried here to this place of the open air before I have got strength of limit.

Now my leisure tell me what blessings I have here alive that I should fear to die, therefore proceed. But yet hear this mistake me, not no life. I prize it. Not a straw, but for my honor, which I would free if I shall be condemned upon surmises, all proof sleeping else. But what your jealousies awake, I tell you it is rigor and not law. Your honor’s all I do refer me to the oracle Apollo. Be my judge.

Geoffrey
Nice guys, Chris. There you go. Really good. Yeah, really good. Shannon. That was wonderful. That’s, that’s your baseline now. Yeah, you, you, you, you, Chris cannot go too far because your, your inherent taste will at some point some things, but that’s generous. But no, but that, that’s great because now, you know, we, we get this, we get her propelled into that. But we’re not gonna go over this again. Next time we do, we’re we’re gonna be doing this technique that I can’t remember if I did with you guys on crucible or not. It’s hard to do on Zoom, but where you pick up as much of a line as you can and then address it directly to the person in the scene. It’s, it’s quite slow. But it’s, it’s, it’s really valuable among other things. It slows you down.

I I think, Shannon, you’ve absolutely got this and I think you can afford now to take much more time again because we have the luxury of, you know, four weeks of table work on just a couple of little scenes.

You, you can afford to not have any obligation to pacing or to picking up cues or anything like that so that you can really think your way through this ’cause that this Shakespeare’s asking a lot of you, although he gives you that big speech before, but to go from this.

Shannon
And then he gives me epically long sentence.

Geoffrey
Yeah, that’s an epicly long sentence. But.

Shannon
For politic, yes. All the way to now for conspiracy.

Geoffrey
Yes, that is one sentence, but you can, which means she’s using a Gideon’s arrow analogy. You are aiming for that last bit. But you, you, you go down some, some side canyons, but you’re still headed for the same campground.

Gideon
And if you are, we’ll go with you. It’s, it’s not exactly, he’s built it so that there’s, you can get there, there’s, it’s, it’s not gonna derail you.

Geoffrey
It it, it absolutely is. And believe it or not, it often in this kind of a thing, if you do, and again, I think this is, this is quite well punctuated. I, I’d give you even a little more,

you, you can let the commas and semicolons and stuff really, really be your friend. You don’t, you don’t have a, there’s no obligation here to, I know there’s some in jammed lines here,

but I I just think you can afford to take more time. I’m not gonna go on about it anymore, but very nice guys. This.

Gideon
Is Can I, can I just Yes, just three, three little things.

Chris, when you say you will not own it, it’s, it’s a direct answer to do to me, which you did. It’s not due to me. You will not own it. But I think you can bring out own more In that. I, I think that’s the key word of that sentence. That’s all I wanna say. Yeah, I, I just want to make sure that everybody gets that fact means faction. Those of your fact means those of your faction. He’s accusing her of being in a faction, which is the enemy of monarchy.

And lastly, Shannon,

the your next to last line, I wouldn’t hit do, I’d hit refer with this big stress on Oracle. But when, when Shakespeare puts in a dew for the meter, it doesn’t mean he wants you to hit it in modern language. When we put in a dew, it’s because we want you to hit it in modern theater. But in Shakespeare, sometimes he does, but usually not. And I think here not, I think it’s, I do refer bubu ba bum, which is a tr followed by an I am which throws stress on the fourth syllable, bubu ba bum. I do, I do refer me to the oracle, your honors, all I, so it’s your and I, and then you go to refer and that throws you to the end of the thought.

I’m elaborating too much. But that’s, that’s my point done.

Geoffrey
I’d go with that. Good. Excellent. So, so let’s go now to,

let’s go to our, our first scene,

our act two, scene one.

And I’m gonna give you these, my scene breakdowns again.

So we’re all literally on the same page, at least to start with. Again, this is not gospel, but it’s a starting place for us. So

where were we gonna, where do we agree to start this with? How blessed am I? Or earlier.

Speaker 10
I thought it was when Leone’s.

Geoffrey
Entered.

Speaker 8
Was he met there? His train? Familiar with him.

Geoffrey
From LA’s entrance?

Speaker 8
Yeah.

Geoffrey
Good. Well, I will, I will, I will be the Lord. Good.

I I actually started this now we can start it with his, his first line, which is I guess 43.

And it goes through

I through Lance’s line about 68 I note too. Well

I’m calling this beat, affirming the truth, affirming the truth.

Then starting with your line, Leone’s give me, give me the boy.

I’m calling this moving to action.

And parenthetically, I said, now that the truth is settled, but moving to action

and this, that’s a fairly short, it only goes from there, which is line whatever is 68 through Leone’s has made the swell thus, and then Mia’s exit.

So this next beat starting with, but I’d say he had not,

it goes all the way through. So that’s about line 79 through 1 28 Leone’s line.

He who shall speak for her is far off, is a far off guilty. But that he speaks

What line is that Jeffrey?

Gideon
1 20 79 To 1 28.

Geoffrey
There you’re okay. Got it. And I’m calling that fighting for the truth as I see it, because it’s just the two of you trying to determine whose truth is going to

prevail

the next bit, which starts with her mind. There’s some ill planet reigns through her exit, which is go do our bidding. Hence,

I, I called this, the first thing I wrote was looking for help. It might be looking for understanding or looking for a different outcome.

She, she might be looking to the heavens, looking to Leon’s, looking to the people around her, but she’s looking for help.

Gideon
It’s line 1 29 through 1 51.

Geoffrey
Thank you

from starting with the Lord, the seat your highness called the Queen again

through 1 94.

The Lord says, be blamed for it how you might.

So that’s 94, I think.

Gideon
One ninety five, one one ninety five.

Geoffrey
I’m gonna call that be saving Leonis and in parentheses from himself, these two guys trying to see what’s going on. They’re trying to save him,

which of course means saving Hermione, but Leone’s is there so you can actually work on him.

And then starting with Leone’s line 1 96, well why, what need we commune with you of this until the end of the scene through antagonist line, asserting my authority,

and again, sort of the parenthetical things. I, I put what were therefore asserting my sense of self, no doubt allowed.

He can’t allow himself to doubt any of this. He’s inch thick, inch thick, knee deep in this.

Gideon
And he is used to it. He’s used to thinking like that. ’cause he is a king.

Geoffrey
He is a king. And the la the other thing I put, the other parenthetical thing was as aligned with God because that he, he again is invoking the oracle

with whom in a way he is sort of valent.

Gideon
He’s actually making the oracle a tool of his own image. Yes. Because he’s sure the oracle’s gonna reinforce what he thinks.

Geoffrey
Yes. Now I have an interesting question here just before we, or maybe maybe we’ll read it and then I have my, my question, I, I won’t, I won’t even pose it yet.

How much longer do we have you for Shannon?

Gideon
Like 15 minutes.

Geoffrey
15 Minutes.

Let’s, let’s read all the way through it then we’ll read all the way through it. You may be just take off and we’re done and then we’ll work anti’s stuff.

So I will stay with you to read various lords, but now we have anti so good L let’s just get to it.

Chris
All right. Was he met there? His train Camilla with him.

Geoffrey
Behind the tough to pines, I met them. Never saw I men’s scour. So on their way I add them even to their ships.

Chris
How blessed am I in my just censure in my true opinion, A lack for lesser knowledge. How curse in being so blessed?

There may be a cup, there may be in a, there may be in the cup, a spider steeped and one may drink, depart, and yet partake no venom for his knowledge is not infected.

But if 1%, the abhor ingredient to the eye make known how he has drunk, he cracks his gorge, his sides with violent hefts.

I have drunk and seen the spider.

Camillo was his help in this, his pander. There is a plot against my life. My crown alls true. That is mistrusted. That false villain whom I employed was pre employed by him. He was, he has discovered my design and I remain a pinched thing. Yeah, a very trick for them to play at will.

How came the poston so easily opened?

Geoffrey
Jeffrey.

Chris
You’re mute, Jeffrey.

Geoffrey
Sorry. By his great authority, which often have no less prevailed than so on your command.

Chris
I know it too. Well give me the boy. I am glad you did not nurse him though. He does bear some signs of me. You have too much blood in him.

Shannon
What is this sport?

Chris
Bear the boy he, he shall not come about her away with him and let her support herself with that. She’s big with Fortis Es has made these swell thus.

Shannon
But I’d say he had not. And I’ll be sworn you would believe my saying, how air you lean to the wayward.

Chris
You my lords look on her mark her well be but about to say she’s a goodly lady. And the justice of your hearts will thereto add to pity. She’s not honest, honorable, praise her. But for this her without door form, which on my faith deserves high speech and straight the shrug, the hm, the ha. Those petty brands that cow Dorothy, oh I came out that mercy does for Calendly will s see virtue itself, these shrugs, these ss and Haws. When you have said she’s goodly come between and you can say she’s honest, but be it known from him that has most cause to grieve. It should be she’s an adulterous.

Shannon
Should a villain say so the most replenished villain in the world, he were as much more villain.

You my lord ju put mistake.

Chris
You have mistook my lady for Leons. That thing which I’ll not call a creature of thy place. Lest barbarism making me the precedent should alike language used to all degrees and mannerly distinguishment leave out between the prince and the beggar. I have said she’s an adulterous. I have said with whom more she’s a traitor. And Camilo is a ary wither and one that knows what she should shame to know herself. But with her most vile principle that she’s a bed swer. Even as bad as those that vulgar give bolts titles to I am privy to their late escape.

Shannon
No, by my life privy to none of this. How will this grieve you? When you shall come to clearer knowledge that you thus have published me?

Gentle my Lord, you scarce can write me throughly than to say you did mistake.

Chris
No. If I mistake in these foundations, which I build upon the center is not big enough to bear a schoolboy’s top away with her to prison. He who shall speak for her is a far off guilty, but that he speaks.

Shannon
There’s some ill planet reigns. I must be patient. So the heavens look with an aspect more favorable good. My lords, I am not prone to weep as our sex commonly are. The one of which feign you per chance shall dry your pities.

But I have that honorable grief lodged here, which burns worse than tears, drown, beseech you all my lords with thought, so qualified as your charities shall best instruct you, measure me. And so the kings will be performed. Shall.

Chris
I be heard?

Shannon
Who is that? Goes with me. Beseech your highness. My women may be with me for you. See, my plight requires it.

Do not weep good fools. This there is no cause. When you shall know your mistress have deserved prison, then abound in tears. As I come out this action, I now go on is for my better grace at you. My Lord. I never wished to see you. Sorry. Now I trust I shall my women come. You have leave.

Chris
Go do our bidding. Hence.

Geoffrey
To sit your highness, call the queen again.

Paul
Sir. Certain what you do, sir, lest your justice prove violence in which three great ones suffer yourself, your queen, your son.

Geoffrey
For for her. My Lord, I dare my life lay down and will do. Sir, please accept it that the queen is spotless of the eyes of heaven and to you, I mean in this thi which you accuse her.

Paul
If it proves she’s otherwise I’ll keep my stables where I lodge my wife. I’ll go in couples with her. Then when I feel and see her, no father trust her. For every inch of woman in the world, I every dream of woman’s flesh is false. If she be.

Chris
Hold your pieces.

Geoffrey
Good, my Lord.

Paul
It is for you. We speak not for ourselves. You are abused. And by some, put her on. That will be damned for it. Would I knew the villain I would land damn him be she on flawed. I have three daughters. The eldest is 11, the second and the third nine and and P some five. If this proved true, they’ll pay for it by mine honor. I’ll Gil them all. 14. They shall not see to bring false generations. They are co-heirs and I had rather glib myself than they should not, then they should not produce fair issue.

Chris
Cease no more. You smell this business with, as a sense, as cold as a dead man’s nose. But I do see it and feel it as you feel doing thus and see with all the instruments that feel.

Paul
If it be so. We need no grave to bury honesty. There’s not a grain of it. The faith to sweeten of the whole Dungy earth. What.

Chris
Lack I credit.

Geoffrey
I I had rather, you did lack than I my Lord, upon this ground and more it would content me to have her honor true than your suspicion. Be blamed for it. How you might.

Chris
I wouldn’t need we commune with you of this, but rather follow our forceful instigation. Our prerogative calls, not your counsels, but our natural goodness impart this, which if you or Stu Stuy or seeming so in skill, cannot or will not relish a truth like this.

Sorry if you will reli relish a truth like us, inform yourselves. We need no more of your advice. The matter, the loss, the gain, the ordering on is all properly ours.

Paul
And I wish my le you had only in your silent judgment, tried it without more overture.

Chris
How could that be? Either that were more ignorant by age or that were born a fool. Camillo’s flight added to their familiarity, which was as gross as ever touched. Conjecture that lacked on sight only not for approbation, but only seeing all other circumstances made up the deeded, the push on this proceeding yet for a greater confirmation for in an act of this importance to most hideous to be wild, I have dispatched in post to sacred phos to Apollo’s, temple

Es and Dion, whom you know of stuffed sufficiency now from the oracle they will bring all whose spiritual counsel had shall stop or spur me. Have I done well.

Geoffrey
Well done. My Lord.

Chris
Though I am satisfied and need no more than what I know yet shall the oracle give rest to the minds of others, such as he whose ignorant karu, credulity will not come up to the truth.

So have we thought of good from our free person? She should be confined Les, that the treachery of those two fled, hes be left her to perform.

Come follow us. We are just speak in public for this business will raise us all.

Paul
The laughter as I take it if the good truth were known.

Geoffrey
Good, good, good.

Shannon, lemme just take a couple of real quick thoughts and, and do just duck out whenever you need to.

Gideon
Shannon, let me just direct a one word you said, however you lean to the wayward, but it’s Ward.

Geoffrey
Ward. Yes. Yes. That was the, the negation. The negation, everything. I was about to say, and I, I’m getting this, but I just wanna remind you of it, that remember at all times that she, she does love him. She’s, she’s baff e everyone is baffled by what’s happened to him, but she all the way through, she, she loves him. It’s like a, it’s like a bad child, you know, you still love him, but it’s like driving you crazy.

So never lose that. It’ll help you look to bring him back to sanity rather than punish him for something.

There was where you say no, about my life privy to none of this. You you took this great break there, which I just want to encourage.

And it’s that thing and that that happens all the time in Shakespeare where, you know, you see, oh, I got five lines, I better get through them. But actually the first part isn’t, is simply an answer to what he’s just said, which you did perfectly. No, I didn’t know any about this then. This is a whole new thought, boy, this is really you. Do you know what you’re saying? This is gonna really get to you. And so there’s, you did it. You can go further with that, that shift in thought. You’re taking us to a whole new, a whole new thing.

Don’t blame me. Don’t blame me.

Oh, yes. This, this thing about I’m not prone to we thing as our sex commonly are the wand of which vein de chance shall draw your pities.

Just, just make sure she, that you, that you’re saying,

you know,

how can I put this? You, you, the fact that you don’t see me crying, may, may think make you think that I’m not worthy of pity or, or of your concern.

I don’t know what I, what I wrote is don’t blame me for that. Okay? Just, just so it’s, it’s, it’s a little clearer. It’s not a, you’re not, I I don’t wanna note of pity in there. It’s an ins it’s, it’s an instruction and it’s the, listen to what I’m saying, don’t be deceived by the fact that I’m not crying. You, you can, you should still be pitying me. Just understand what I’m saying.

Gideon
It’s followed by an antithesis. But I have that gre honorable, honorable grief lodged here. So that’s that refutes. Yes. Their temptation to not pity her because she’s not crying. While we’re there, I wanna see on the camera that you’re indicating your heart.

Geoffrey
Okay. Yeah.

Stop. That’s, that’s it. That’s all I, that’s all I have for you and I’m gonna let you go.

Gideon
Me too.

Geoffrey
Yeah. All right. So much. Great, great. Come along. Great. Yeah, great rest.

Gideon
It works. Shannon.

Geoffrey
Like I said, we, we, we are gonna do it next week. So take a look at this a couple of times so you get a little more familiar with the lines. All of us. Okay? Yeah. See you. Bye

Paul. Yes.

Paul
Sir.

Geoffrey
Do let’s talk about, let’s talk about you. All right. Do you have any questions now you wanna bring up or

anything?

Paul
No, not really. I made a choice of how to play him. Do you want him more? Like, do you want him a bit more tender, a bit more reverend to Leonis? Or do you like him as fiery as I went there,

what I’m playing is, what the fuck are you doing, man?

Geoffrey
Whatcha.

Paul
Talking about This is madness. That’s what I was going for.

Gideon
I think you can, you’re also a advisor to the king of the realm, and it’s dangerous for the country and for him to be doing this. So you’re also looking out for his welfare and for the welfare of everybody.

Geoffrey
It’s interesting. A hundred percent agree. When I wrote Saving Leonis as this beat we go into, yes.

I, again, for myself, I wrote here, why, you know, why, why, why are you doing that? Why are you trying to save him?

And the things I wrote were safety of the kingdom and themselves. What might he do to them? What this is, you can’t have somebody who’s so obviously off his, off his nut running the place. It’s not good for the kingdom. And it’s not good personally. I mean, he just threw the queen in prison.

This, this is, this is not good. It’s unsafe in many ways. So I I think it’s going.

Gideon
To lead to anti’s death.

Geoffrey
Yeah. It will lead to Absolutely. He’s gonna ask you to do horrible things in a minute.

Well, I think, I think there is certainly fire in it. I mean, he’s offering basically to the geld, you know, geld his daughters and, and himself in, in a sort of, you know, they’re not gonna inherit anything. He’s not gonna, but, but the images are of, you know, de balling himself practically. So there’s, there’s certainly fire in there. You know, he’s saying that I will, I will make my daughters barren poppers if, if her mind is very strong language. Yeah.

Paul
If she is dishonest, then all women are dishonest. And I will exactly, my daughters the, the opportunity to bring more women into the.

Geoffrey
World. And, and I would, I would yolk myself wi this is a, it’s a little tricky language there, but he’s basically saying, you know, if that’s the case, then I would yolk myself to my wife, who I actually do trust so that any, any motion I would see, I would see any motion. I mean, she’d be right next to me. I I would, I would keep track of her that way. And I, and then a grain of sand in the wouldn’t. And, and you know, the image is a grain of sand against the whole Dungy earth. Dungy, right. Dungee, dungee, dungee, Dungee of course. Dung, what is it?

Dung is shit.

Paul
Oh, dhy. Of course. Yeah.

Geoffrey
So, so you’re using pretty extreme imagery and, and Yeah, I imagery. But he is, he is an old man.

I think that’s something he’s probably not as vigorous as you are physically, as, as old men, as four old men here, you know, he is, he is going to be eaten by a bear because he can’t run fast enough. Things like that. He.

Paul
Also says his oldest child is 11. So I wondered just how old is old? Maybe he’s my age and they’re calling him old.

Geoffrey
Yeah. Tony.

Chris
Randall had his first child at like 73.

Geoffrey
You know.

Chris
There’s a will.

Geoffrey
I, I think, I think there’s an interesting blend of of fire in the belly, which, which is fine.

I I also think the, the imagery that he’s willing to use to the king, to the king I is indicative of, of a man who has a, a kind of license right. In the, in the court, you know, he’s, and and he, he will come to you to ask you to poison somebody. Right?

Paul
Camillo, I.

Geoffrey
Think that’s.

Paul
No camillo’s gone.

Geoffrey
Has that already happened? But I’m losing, I asked Camillo to poison. That’s Camillo. I’m sorry. I’m sorry. Snee. Yeah. Asked You asked Camilla. Of course. Sorry. That’s why Kalo pleads. Sorry, sorry, I got confused. Which of course prove that he’s guilty. I am.

Gideon
I think, can I just suggest what turns him to the fire is the idea of the putter on that will be damned for it. Some de demonic person named Diago, for example. I don’t know Paul, if you heard me last week. I did probably. You did. Okay.

Paul
And I really, I really liked that comparison to a fellow that was very interesting.

Gideon
Yeah. It’s, and the, the point is that the, an unseen de demon here, he’s not named, he is not a person. He is not having to do any seduction. It’s sudden, but, and taken this brings up the idea of somebody who’s putting this on that is making this up. He is, you’re abused, you’re, you’re tricked or lied to by somebody who’s was putting on a fake show. And it’s damnable to have done that. And then I would land damn damn him, that’s the beginning of this fire that Jeffrey’s talking about. And then he goes into his own daughters, if she is guilty of what this Damnable villain says.

Now he can’t call the king a Damnable villain, but he’s imagining somebody inventing this for Leons. Right. And that’s what gets him going. And then he’s gonna glib himself in all the rest.

Geoffrey
It it, there, there’s an interesting mixture. I I think he’s as fire as you say, but there’s the, the reason I think he’s old or something is he, he’s not, he’s not a polonious, but there, there might be a whiff of polonious about him somehow. Do you know what I mean by that? He.

Paul
I think I do.

Geoffrey
Goes on, he goes on a little too much.

Gideon
Extravagant. He’s a, he’s a little exactly extravagant in his metaphors. Well.

Paul
I feel like, I feel like antagonists gets caught up in the imagery as well.

Geoffrey
Yes. I think that’s, I think that’s a very good approach to it. A very good way to see it. Yeah. He gets a little carried away. So

is any of this helping you?

Paul
Yes.

Geoffrey
Yeah. I think one, you know, once again, the, the, the text is your friend, you know, you let that, it, it’s, it’s really all there. He, he does have a, a fire and he is upset at what’s going on.

You know, his last line is, they’re, they’re gonna laugh at us for this. It’s, it’s, it’s absurd what’s going on.

Gideon
And it’s ironic that Leone’s response by saying, you’re feeling this coldly you with senses cold.

So as, as fiery as we’re talking about him being, Leon thinks he’s just off the, off the trail, lost the scent entirely.

Geoffrey
Yeah. Yeah. Because he’s, he, he’s blaming some non person who we don’t know. Who we know is Leonis man. Are you parking up the wrong tree, buddy? Yeah, Leon, you know, it’s, we know it’s ti himself. You think it’s some, you know, some villainous person. And all Leonis wants you to be doing is, is land damming Hermione. My, my note on land damming says that it’s, it, it’s a sort of an amplification of, of damning, you know, you, he, he’s not only damned in by God, but he’s damned on land. Does that make any sense?

Gideon
The, the scholars have pursued this term as thoroughly as they could. And there’s absolutely no answer to the question where it comes from. It’s never used by anyone ever again or before. They don’t know what it, what it can mean. It could be a, it could have been a misprint or it could be a phrase that’s used from some country, something. Anyway, the read it as an, an intensification of damning. Yes.

Geoffrey
That’s, that’s.

Paul
I my, my take on it. What, what little reading I found on it, writing I found on it was what Jeffrey just said is that not only are you damned in, in, in the heavens by gods, but you’re also damned here on earth.

Geoffrey
Yeah. Yeah. And.

Gideon
Taking it to mean that is perfectly useful to you. So do it.

Geoffrey
And, and, and the fact that nobody else ever in Shakespeare or anywhere else in the English language ever uses it, is perhaps another little clue about the kind of person he is. You know, that’s why I think he has this whiff of, of polonious, you know, he, he’s, he makes things up.

Paul
He’ll make up a word.

Geoffrey
Comical, historical, you know, that’s, there is no such thing. Right. I.

Paul
I have a question. I have a question. Yes. I’ll, I should just look at it instead of trying to remember it. But I think he says, I will, I will keep my stables where I lodge my wife.

Geoffrey
Yes.

Paul
Give me your take on it, Jeffrey and or Gideon.

I’ll find the exact line while you’re looking.

Geoffrey
Yes. It’s line 1 62. If, if thank you, if it prove other she’s, otherwise I’ll keep my stables where I launch my wife. I, I know in two. Really, but it means I can’t, I get.

Paul
I get, I’ll go in couples with her that I get, but.

Gideon
Yeah.

Geoffrey
In the sense that you’ll be, in the sense that you’d be yoked right next to her. Right.

Paul
Okay. Because that’s on, on its face. When I first read it, I thought it meant I’ll keep my wife in the stables with the horses because I don’t want her around me. ’cause I don’t trust her.

Gideon
Not, not that I don’t want her around me, I don’t, she deserves to be, she deserves to be treated like a beast, like an animal because all, all women do. Because if Hermione can behave like this, but it also means I’m not leaving her to go to my horses. I’m going to, they’re gonna be in the same place that, and that it leads to, I’ll go in couples with her because I’m not letting her out of my sight. Oh, okay. Then when I feel, by the way, I wanted to say than make the van not then, but then clear, I will no further trust her than when I feel and see her. So all three ideas are the same, the versions of the same idea.

Paul
Okay. So I’ll go in couples with her is not in contradiction to I’ll keep her in the stables.

Gideon
No.

Paul
The same thing. Oh, see, I thought those were in contradiction. That’s why I didn’t quite get it. Yeah.

Gideon
No, he’s building up metaphors to reiterate that she’s a beast. She belongs with the horses. I’m never gonna, if I have to ride a horse, she’s going to be there. Right. If I’m in the bedroom with her, it might as well be in the stables where the horses are, because women are beasts. If Hermione is false.

Geoffrey
Yeah. If you’re in couple with her, you can see and feel her every moment. Yes. That.

Paul
Part I get.

Geoffrey
Okay.

Paul
Is there any chance, Gideon.

Gideon
Yes, Jeffrey.

Paul
That he is not referring to the horses and he’s saying I’ll keep myself my, and he is using sort of a metaphor for my stables, the things that are my belongings. I’m gonna put them where my wife in her room, I’m gonna put all my crap in her room so I can watch her every minute. Could.

Gideon
It be, oh, that’s an interesting reading of the word stables. Let me look.

Paul
‘Cause he doesn’t say, he doesn’t say, I’ll lodge my wife where I keep my stables. He says, I’ll keep my stables where I’ll lodge my wife.

Gideon
Yeah. Right.

Paul
If you think there’s no chance that, that, that’s possible, then I’m, then I’m gonna go with the horse.

Gideon
Let me, let me look a little bit, I’ll see if I can find you something and.

Geoffrey
Interesting possibility while, while he’s looking for that, I’m just gonna give you a bit of a line reading here towards the very end two line 2 0 7 or so. Yes, sir. I wish my leash you had only in your silent judgment tried it.

I think the, the operative word there is silent.

Gideon
Yes.

Geoffrey
Okay.

Gideon
I have the same note.

Paul
Got it.

Geoffrey
And

oh, this is just a

where is

when you’re going out about your daughters here, this the second and third nine and some five. If, if this proved true, they’ll pay fort. Make sure that’s one syllable fort.

Paul
Yes, sir.

Geoffrey
Right. Get to that T.

Paul
Fort.

Gideon
Okay. I got some stuff for you here.

Geoffrey
Okay. Okay.

Gideon
One meaning is I’ll lock my wife up as I shut up my mares away from the stallions.

Paul
Say that one more time.

Gideon
I’ll, I’ll shut up my, I’ll lock up my wife as I shut up my mares away from the stallions. You lock the mares in if you don’t want the, the stallions to breed with them.

And I’ll run coupled to her as though we were a pair of hounds and trust her no farther than I could touch or see her to keep a stable. Means to guard to keep his stable. When is empty G keep meaning. What does he say? Keep I’ll guard my stables where I lodge, where I lodge my wife. So your wife keeps the stable of your honor. Let her be locked in a brazen tower. These are all quotations from other things.

So the the idea is I’m going to, I’m, I’m going to lock her away from all men. Right. All, all three. All three sentence, all three phrases are I’m gonna lock her away from all men.

That is, I’m gonna guard, I’m gonna guard where she sleeps. As I guard the stables. They keep the mares from the horse, from the stallions. I’m going to go in couples with her like two dogs in the hunt. So they can’t sit, be separated from each other. And I’m not gonna trust her any further than I can feel and see her.

That’s a lot. I hope it helps.

Paul
That helps a lot.

Geoffrey
Yeah. The, the seeing the word keep as guard is, is is very helpful to me. Yeah. Yes. Me too. I’ll guard the place where I keep my wife. Really keep her in the stable. ’cause she’s a beast.

Paul
Can I? Yes. That helps a lot. Thank you. Gideon can, can look at two. Oh, what is it? 2 0 2 0 6 1. We just talked about silent judgment.

Gideon
Yes. I want you to hit silent too.

Paul
Right. I’m scanning the first three syllables. What’s the opposite of an ana pest? Or is this anest?

Gideon
Read it to me. What’s your what?

Paul
I’m going, I wanna go unstressed unstressed stress. You had only in your silent judgment. Trident.

Gideon
Perfect.

Paul
W is that anest is the one that’s unstressed, unstressed, stressed.

Gideon
Yes. P.

Paul
And what? And ’cause anest S sounds like the opposite of what it is. And what’s the other word for the other way?

Gideon
What is it called?

Paul
Stressed. Unstressed. Unstress.

Gideon
Yeah. Bu

I have to look it up.

Paul
And I know that the funny thing is that both words sound are, are said in the opposite of what they mean. Right? What.

Gideon
What? Say that again.

Paul
Ana pest itself is stressed. Unstressed. Unstressed. But it means the opposite. It means unstressed unstressed stress.

Geoffrey
Oh geez.

Gideon
Oh, that’s right.

Paul
And the other word is a three syllable word, which does exactly the same thing in the opposite.

Gideon
So my poem for these meters says, and when anest gathered, prepare to shout, wo or upon them, you, you or upon them, you’ll something be galloping. Go.

Anyway, I have to find that for you.

You had only in your silent judgment tried it. Yes. That’s how to do it.

Geoffrey
And.

Gideon
The point about it is, you’ve, you’ve made this a public judgment. You should have thought it through first in your own head while we’re stopped. Can I do the various lines that I marked?

Geoffrey
Yeah. I just wanted to say one quick thing about the, that line. I don’t have any problem if you lied. The I and the had, I’m sorry. That same line. Silent judgment. You went ahead.

Gideon
Yeah. You would only you.

Geoffrey
Normally in your silent judgment tried it. Silent judgment.

Gideon
That’s probably what he means. Yeah.

Geoffrey
That’s the easiest way to do it.

Gideon
Yeah. And the.

Geoffrey
Says sense always trumps everything. Yes. The sense of that is you’d only done it quietly or to yourself anyway. Carry on. Gideon.

Gideon
O Okay, so th these might be some for Chris. I think some are for Chris, 71.

I would not hit the does I go for the bear.

Geoffrey
I the gray blanket. I, I’m sorry. I’m sorry. Excuse me just a second.

I have a, I have a cold 13 year old. It’s buffalo. After all you’re in buffalo. I know winds closing in.

Gideon
So I’m in line 71.

You hit, you hit does.

And I know why and it’s gonna be your choice, but I want you to feel what it feels like to make it two. I ams and hit bear though he does bear some signs of me, yet you have too much blood in him.

Chris
I hear you. Okay.

Gideon
Okay. So just try it both ways and see what you think. Line 1 21. This is her. Oh, too late.

What did I wanna say? Oh, I’ve wanted her to hit then. Okay, I’ll keep it for next time. Line 180 5.

Leons, when you say, and as you feel doing, thus, it’s a physical gesture. You’re pinching him, you’re hitting him, you’re doing something to him that, that is dramatizing. I feel it as much as you feel this. And you can box him in the air or you can pluck his ear lobe or you can pinch his nose or you can pinch his arm or whatever.

Whatever you wanna do. There’s some gesture there.

Chris
It’s funny how much that makes sense.

Gideon
1 91. What did I mean? Oh yeah, you said what lack I credit I as opposed to someone else. I would say you’re the kind of king that doesn’t have to emphasize that I, you’re surprised that you’re not being believed. Not because I versus someone else, but because what? I lack credit. How can you say that? You get what I’m saying? Yes.

Chris
I do. Tony Is I, I have, I have all my scans marked on my sheet and, and that I is a unstressed. So I don’t know why I said it that way.

Gideon
Okay, well I know why because in, because all of us in modern theater love to hit pronouns.

Chris
I and, and I always try to not whenever it’s possible.

Gideon
Bravo. Good. My.

Geoffrey
Alright.

Gideon
Two more.

Chris
Actually can I, can we back up for just a second? Yeah. The, the, as you feel doing thus, and let’s see, with all the instruments that feel, am I talking about the thing that I, this instrument that felt you, this so it’s not.

Gideon
No, it’s, it’s you, you feel I feel it. See and feel it. See and feel. Remember he is used two verbs. Yep. As you feel my punching you and as you also with all means also. Yeah. See my hands that are the instruments that feel, so that’s.

Chris
Yeah, that’s, that’s what I, that’s what I was getting at. So yeah, that’s.

Geoffrey
What I thought. I thought you I’d read somewhere that the traditional stage business is to pull his nose. But but you, you could do anything but the instrument is your hand.

Gideon
Yeah. You feel it and you see it equally. And that’s how clearly I feel and see what she’s done.

Two 16.

Oh, it’s not push on this proceeding, it’s push on this proceeding.

Push it onward.

Geoffrey
Yep.

Gideon
Got it.

Geoffrey
Yep.

Gideon
And then 2 27 also Leon’s, you hit the I a little bit. Not very much, but a little bit.

And it is in a position of stress, but I really want you to go for satisfied.

Geoffrey
I’m sorry. Where is where once again? Where is this line?

Gideon
2 28.

Geoffrey
2 28. Though.

Gideon
I am satisfied and need no more than what I know yet, shall the oracle Yeah.

Chris
Yeah. I do it.

Gideon
Yeah. Just it, it’s not, I as opposed to someone else who isn’t satisfied, it’s, I’m satisfied the king takes himself so for granted that he doesn’t have to hit his pronoun.

Geoffrey
Sure.

Gideon
Okay. That’s it.

Geoffrey
I’m, I’m just to give you a hard time, Chris. I I have one. It’s another one of these illusions. It’s way back.

Spider line 54. I think.

I think it works better if it’s the board ingredient to his eye.

Gideon
That’s correct.

Geoffrey
Take the so it’s in you take that, whatever that so that eye syllable out Yeah. Board ingredient to his eye. It it works better.

Chris
It sure does. In fact, that’s also how I scan that word with three syllables.

Geoffrey
Good.

Chris
And then all, all of that diction training.

Geoffrey
I know you, I know. Yeah, I know. I’m just.

Chris
So Yeah. Ingredient. So good. We.

Geoffrey
Have to get picky when you did this, that told villain who I employed was pre employed by him. You, you really got that pre Great. I just want to give you a That’s a good, that’s a, you know. Oh, thanks. It’s a gold star in your forehead.

And you did this. And I wanna encourage you to go even further, a little further down at the end of this beat where you say, I note, I note too. Well, and again, it’s note too. Well you get to use those tss it’s like we’re finished with this discussion. Yes.

Gideon
And there’s a missing foot. There’s I.

Geoffrey
I was just about to say that.

Gideon
Oh, sorry.

Geoffrey
I was just about to look intelligent. There there’s actually, yeah, there’s a bunch of missing feet there.

Chris
Yeah.

Geoffrey
However you want to do it. And you know, traditionally you can put it at the beginning of the end. It seems to me this is a break. We’re moving on to a whole new thing. And I, I named this next bit moving to action. You’ve had this sort of Yeah. How blessed am I? I I knew it. I knew it. You know, this is spider thing and here’s the 10 and there’s a thing and and how the fuck did they get out? They opened the door. Yeah, I know. I know, I know.

Gideon
Can I just.

Geoffrey
Okay, moving on. Right. No.

Gideon
I wanna reinforce what you’re saying. Yeah. On your command is two feet. I know it too. Well, it’s two feet. Give me the boy is two feet.

So they’re, they’re, he’s, he’s punctuating these three related phrases of moving on.

He’s he’s imitating the same sound in a way with the new idea.

Geoffrey
Yeah. All those things. But that, that one, I mean, there aren’t a, there aren’t, I think there’s somewhere else where there was a, a missing foot. But this is one where, I mean, he’s really written in a big shift. Yeah.

So, and you, you did observe it. I wanna encourage you to, to do even more with it. Observe it more. Sure. Yeah. Just telling you, you’re doing the right thing there.

See if I had anything else for you.

It’s another good break.

Paid for it.

Silent. No, I didn’t have anything else written down.

Let’s just do this second part of the scene again for, for your guys’ benefit. Yeah. Yeah. Are there more questions?

No, no. I mean, not for me.

Paul
And I looked up the form of speech I was thinking of and I sent it in a chat to you.

Gideon
Yeah. I can’t read the chat for some reason. I’ll come to it later. What did you, what did it say?

Paul
It’s ca well I didn’t wanna waste our time with this, but it’s called a dactyl. It’s not.

Gideon
Dact.

Geoffrey
At all, of course. Dact.

Gideon
Yep.

Geoffrey
I never remember any of these names.

Gideon
My name is a Dactyl. Bupa.

Geoffrey
Oh, my name is a Dactyl. Okay.

Paul
Gideon Rappaport.

Gideon
Yeah. There’s a, there’s a style of poem called the Double Dactyl, which has very specific rules and it’s, it’s very clever. So look them up. You’ll have fun. I.

Geoffrey
Great. Let’s, I will be the Lord again. I, I apologize. I I switched this on and off to try to avoid the dogs. We have two dogs at the moment, but everybody seems calm, so I will try not to get off.

So let’s start again from the Lord seat. Your call the queen again.

Okay.

Chris
Okay.

Geoffrey
Be seat your highness. Call the queen again.

Paul
Be certain what you do, sir. Lest your justice prove violence. In which, in the which three great ones suffer yourself, your queen, your son.

Geoffrey
For her. My Lord, I dare my life lay down and will do, sir, please you to accept it that the queen is spotless of the eyes of heaven. And to you, I mean, in this which you accuse her.

Paul
If it proves she’s otherwise I’ll keep my stables where I lodge my wife. I’ll go in couples with her. Then when I feel and see her, no father trust her. For every inch of woman in the world, I, every dram of woman’s flesh is false. If she be.

Chris
Hold your pieces.

Geoffrey
Good, my Lord.

Paul
It is for you. We speak not for ourselves. You are abused. And by some, put her on. That will be damned for it. Would I knew the villain. I would, would I knew the villain. I would land damn him be she on flawed. I have three daughters. The eldest is 11, the second and the third nine and some five. If this proved true, they’ll pay for it by my honor, I’ll gel them all. 14. They shall not see to bring false generations. They are co-heirs. And I had rather glib myself than they should not produce fair issue.

Chris
Cease no more. You smell this business with a sense as cold as a dead man’s nose. But I do see it and feel it as you feel doing just and see with all the instruments that you feel.

Paul
If it be so. We need no grave to bury honesty. There’s not a grain of it. The face, the face to sweeten of the whole dungee earth.

Chris
What lack I credit.

Geoffrey
I had rather you did lack it, my Lord, than my Lord upon this ground and more it would content me to have her honor true. To have her honor true than your suspicion. Be blamed for it. How you might, I would.

Chris
Need we commune with you of this, but rather follow our forceful instigation. Our prerogative calls, not your counsels, but our natural goodness imparts this, which if you stupefied or seeming so in skill, cannot or will not relish a truth like this, inform yourselves. We need no more of your advice. The matter, the loss, the gain, the ordering aunt is all properly ours.

Paul
And I wish my leash you had only in your silent judgment, tried it without more overture. How.

Chris
Could that be either that aren more ignorant by age or that were born a fool. Camilla’s flight added to their familiarity, which was as gross as ever touched, conjecture, lack that lacked sight only not for approbation, but only seeing all other circumstances made up to the deeded. The push on this proceeding on this proceeding dam it.

Geoffrey
Actually just start, start that line again and let me.

Chris
Lemme do that again because I.

Geoffrey
Because it’s, it’s one.

Chris
Of those places where.

Geoffrey
It’s a tough one. I’ve gotta gotta.

Chris
Slow the hell down because I’m, I’m, the words are going faster than my brain is following them. You know what I mean? I.

Geoffrey
Think because the sense of it is Camilla’s flight added to their familiarity duff push on this proceeding, right? Yeah. Everything in between is parenthetical.

Gideon
Right? Exactly.

Chris
Yeah.

Geoffrey
The, the what what you’re going for is everything that’s happened is moving this along. These things have happened,

so just yeah, let’s just go back and do that because it, it’s a tough one. Although that the beginning is great.

Paul
Do you want the cue?

Geoffrey
And that’s, that’s, oh, there’s, there’s the textual clue as to his age. Yeah.

Chris
Oh yeah. This is like, okay. Boomer.

Geoffrey
Either. Yeah. That’s either you’re stupid or you’re so fucking old. Yeah. You can’t see what’s going on. So that’s, that’s a, that’s a clue from him about you antagonist. I.

Gideon
I just wanna add that the please madness began with him interrupting himself and his thoughts constantly. There are lots and lots of dashes going on. Yes. And he’s still in that condition, so that’s why these sentences are broken up with these self interruptions. It’s, it’s standard for him till the light. Dawns.

Geoffrey
Just, just, just one other thing. Yes. Where am I? Since we’re stopped. I’m gonna give you anti, you’re gonna give him his line again and I wish my le my le silent judgment is nearly right. Throw away judgment. All I wanna hear is silent. Right. Got it. Okay. If you hit them both, we get confused.

And.

Paul
There’s a missing foot here too, right? When that shared line between properly hours, and I wish my leg, if not a whole foot, there’s a missing unit, there’s a missing syllable.

Gideon
There’s a half foot missing, but you fill it up with the pause between properly hours. And I wish my lead.

Paul
That’s what I did. Okay.

Gideon
Yeah, there’s just an, there’s one unstressed syllable missing and that’s falls between the two of them.

Geoffrey
Yes. And speaking of missed syllables, I think we have one here, Chris, in your line yet for a greater confirmation. I think there’s, that’s only yet for a greater confirmation.

Gideon
No, it’s f it’s five, but it’s, it’s two. It’s the extra syllable that we.

Geoffrey
Don’t Oh, so it’s that sort of accomplishes the same thing. Yeah. Which is to slow it down. It, it’s,

we’re ending yet another whole new world here. It’s like you’ve, you’ve answered, you’ve answered an, you’ve answered antagonists.

We’ve gotta move on with this proceeding.

I but for a confirmation, I have done this. What do you think of that guys? Right? There’s a, there’s again, there’s a new, a new energy there. So let’s just go, since we’ve only got a couple of minutes left, let’s go from, and I wish my leash, you had only your silent judgment tried it.

Let’s go from there. And.

Paul
And I wish my li you had only in your silent judgment, tried it without more overture.

Chris
How could that be either thou art most ignorant by age or thou word born a fool? Camilla’s flight added to their familiarity, which was as gross as ever touched conjecture said, like sight only, not for approbation, but only seeing all other circumstances made up to deed push on this proceeding yet for a greater confirmation.

For in an act of this importance tour, the most pious to be wild, I have dispatched in post to sacred phos to Apollo’s, temple Es and Dion, whom you know of stuffed sufficiency now from the oracle they will bring all whose spiritual counsel had shall stop or spur me.

Have I done well.

Geoffrey
Well done. My Lord.

Chris
Though I am satisfied and need no more than what I know yet shall the oracle give rest to the minds of others, such as he whose ignorant credulity will not come up to the truth.

So have we thought it good from our free person, she should be confined lest that the treachery of those two lit, hence be left her to perform. Come follow us. We are to speak in public for this business will raise us all.

Paul
The laughter as I take it, if the good truth we’re known.

Geoffrey
Good guys. Good. Good.

Gideon
I have three brief things.

Geoffrey
Quick.

Gideon
Starting from the end. The good truth were known, I I’d not do that up little on your voice at the end. Go for the,

for the punctuation that ends the scene, I guess is what I’m saying.

Line 2 0 2.

Chris, you said relish truth like this, but it’s like us meaning feel the way we feel it the way we feel it.

Are you there?

Geoffrey
I am.

Chris
I am there. Like I said, I, I cut and paste these into something so I could spread it out and write a bunch of stuff down and the line numbers didn’t come with, so.

Gideon
Okay, so it’s where, it’s a speech that begins why, what need we commune with you of this? Yes, thank you. And then you go down a little and it says, cannot or will not relish a truth like us.

Geoffrey
Ah.

Chris
Yes. Sorry.

Gideon
Sorry. Okay. And then this is for you, Jeffrey, on line 1 92, since you’re gonna be reading the Lord.

Geoffrey
Yeah, please.

Gideon
Let’s have the antithesis there. I had rather you did lack than I.

Geoffrey
Yes, yes. I literally just mark that because as I, after I said it, I, so that makes sense. Yes. Okay.

Gideon
That’s it. Good work guys.

Geoffrey
Super, super good everyone. Great work. We throw a lot at you and you always take these notes extremely well.

Gideon
Yes.

Geoffrey
Nice to have you along Paul. As I said, as I said to Shannon, do, do look this over a couple of times because next week we’re going to be, you don’t have to be off book, but you’re gonna be looking at the camera more than the page.

Paul
Which may I ask, which version of antagonists did you prefer?

Geoffrey
Which the way you’re going. The second one. The.

Paul
Second one, okay.

Geoffrey
Yeah. The i I don’t wanna make, I, I don’t wanna make him dering, but keep, keep whatever you think of Polonious, that’s more what this guy is like.

Paul
Okay.

Geoffrey
Yeah. He in.

Gideon
Fact, he’s virtuous rather than self diluted.

Geoffrey
Yes. No, he is, he is virtuous. He’s just, he’s a, yeah.

Gideon
Yeah’s a little.

Geoffrey
Old. He, he’s perhaps a little older than you, I would say certainly in his mind.

Paul
So less accusatory to toward Leon’s. And if there is anger, it’s directed to the situation because the first one was a little bit.

Geoffrey
Accusatory. Again, again, think of, think of, think of that, that name. I gave this whole beat, which is saving leonis, saving Leon. It’s not punishing leonis, it’s not getting at him. It’s, it’s saving him, which is a way of saving the country and yourself.

If things are out of joint, I want them back order. That’s what we like in this world. Got it. In, in the world of winter’s sail and in Shakespeare’s world, that’s what we like. Order is, is a good thing.

And so it, it’s, it’s, you’re not angry at him. You’re baffled by what he’s doing. So try to, try to bring him around, try to save him, try to try to save his soul.

Think of it that way. Okay. Thank you. Yeah.

Okay. I’m gonna call it a night, Nathan. Yeah.

Nathan
Great work. Great work everybody. Really enjoyable to listen to. I, I couldn’t possibly talk about any specific moments. It was just a lot. I really enjoyed all the work you guys are doing and thank you very much for, for doing it, for being here. Yeah.

Geoffrey
My God, it’s a blast. An absolute pleasure. Yeah. Thank you. Great work guys. Wonderful work. I’ll see you next week, dude. Take a look at it. Okay. Thank you. Bye guys. Bye.