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3:16

first episode of season 5 part

3:18

3 is dedicated to our Patreon

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supporter Astra Kim who will be

3:22

killed by a trout. No

3:25

sorry it says here two droughts who

3:27

will be killed by two droughts and

3:29

who will reappear as a sand grain

3:32

counter in southern Sahara. Enjoy

3:34

the episode. Hi

3:42

pretty master kid. Tell

3:44

me what flag flies at the curtain theater today.

3:48

Black. A tragedy then. Romeo

3:50

and Juliet. Well then I shall

3:52

attend not kid for in truth

3:54

I saw to fortnight ago. Thou

3:56

enjoyeds did not. I confess no

3:59

for are we to to believe that

4:01

Friar Lawrence, a character who can so

4:03

artfully conceive the plan to feign fair

4:05

Juliet's death, would then prove

4:08

such a lacquered in his failure to

4:10

foresee that Romeo's kin would speed the

4:12

news of Juliet's demise to him more

4:14

swiftly than his own leaden-footed messenger. For

4:17

sooth it stretches the very limits

4:19

of credulity. To speak of credulity

4:22

being stretched, I must

4:24

away. For hast thou not promised a

4:26

courtier who hast fallen out of favour

4:29

with the Queen, that we shall help

4:31

him disappear by having him pegged to

4:33

death by a bevy of enraged swans?

4:36

Yes, I did. Is

4:39

it not inspired? No. Of

4:41

course it is. And my dear kid,

4:43

thou art the master of thy craft,

4:45

but even a master craftsman needs a

4:48

challenge now and then, lest his talent

4:50

dulls. Well, thou mayst need

4:52

to practise the art of hunting for

4:54

premises ere long. The

4:56

thirteen swans currently captive in our

4:58

offices have attracted the attention of

5:00

our landlord. Oh. Who

5:03

begs that I remind thee of our contract

5:05

sub-close 3A? Oh, for sooth.

5:07

No pets. And sub-close 3B?

5:09

Especially no pets that are the

5:11

legal property of the Queen. Wherefore

5:14

wishes her majesty such ownership of

5:16

violent waterfall? That answer is

5:18

not within my craft. Until

5:21

later. Hmm. Oh,

5:30

good den, sir. Oh,

5:32

um. Good

5:35

den. Can I be of assistance? You

5:38

are too kind, gentle stranger.

5:41

But I fear not, for

5:43

my troubles are wrought of iron, like

5:46

some portcullis of woe. Ah,

5:50

perhaps the remedy lies in a sympathetic ear?

5:53

It would need be the ear of an elephant

5:55

only. I could hide in its

5:57

capacious flaps, and it could carry me off some-

8:00

he reached a pinnacle in that

8:02

and cannot recapture his fall. He

8:04

believes his fire has gone. And

8:08

during this time you have been writing

8:10

the plays. Indeed.

8:13

The comedy of errors. Titus

8:15

Andronicus. Love's labors

8:18

lost. All mine. And

8:20

the very play taking place as we

8:22

speak, Romeo and Juliet. Aye, sir.

8:25

I mean... When he

8:28

shall die, take him and cut him out

8:30

in little stars. And he will make the

8:32

face of heaven so fine that all the

8:34

world will be in love with night... You

8:37

mean to say you wrote that? Aye,

8:40

sir. Well, cover me in gold

8:42

leaf and call me a lily. And

8:45

the situation which leaves you weeping in the street

8:47

is that you no longer wish to write plays.

8:50

I do not. But you also

8:52

cannot simply leave. I

8:54

am handsomely compensated. But our company's

8:56

patron, Lord Hunsdon... Oh, a powerful

8:59

man. It is true. To

9:01

us he who hired me when he learned of

9:03

Will's block. To begin with,

9:06

I was glad of the work. And

9:09

I am proud of that which

9:11

I have written. Yes. But with

9:13

success comes expectations. Lord

9:15

Hunsdon earns well from this place. And he

9:18

is not prepared to lose it or his

9:20

standing. So now he

9:22

demands new pieces with such

9:25

frequency and ferocity that I am o'er

9:27

wrought with pressure. What a pickle, what

9:29

a pickle, what a pickle. Why, even

9:32

now, as Romeo and

9:34

Juliet plays to packed houses,

9:37

he clamors for my next. Well, I

9:40

mean, have you tried simply offering your

9:42

resignation? Hunsdon has other

9:44

business interests, sir. Oh? And associates

9:46

who are not the sort to

9:49

introduce themselves with words. Oh. And

9:51

I know that those who have

9:53

crossed him... Well,

9:56

I shall remark only that should I

9:58

simply leave this work... You

10:01

will find me a grave man

10:03

indeed. Oh yes, I see

10:06

what you did there. Clever. Sorry,

10:09

I didn't know the room was occupied. Master

10:11

Shakespeare, I believe. That's

10:14

your... Service?

10:21

Service. Yes. Yes,

10:24

service. Yes,

10:28

and I at yours. Yes.

10:42

Can we help you, Master Shakespeare? Help?

10:45

Oh! Oh yes! Yes!

10:47

Yes! Yes! Good. No. No?

10:51

No, no, no, no, no. No. No,

10:53

I just came in to... find

10:59

a quiet spot. But, you know,

11:01

as the room is occupied, I'll

11:04

just... I'll...

11:12

Take your leave? Take

11:14

my leave? Indeed, Adam.

11:16

Yes, good. Yes, you always... No, how to... Well...

11:22

You... A

11:24

dog and little mouse. Every unworthy

11:26

thing. Live here... You

11:29

just did not. No, indeed.

11:33

Every day, he mopes in here

11:35

like some sullen cloud. Only

11:37

yesterday, I found him weeping under a

11:39

pile of doublets. So, what

11:43

do you propose? An outing to the lusty

11:45

maiden? Oh, the public house, I mean.

11:48

Nothing like it for heaving a fellow out

11:50

of the doldrums. Not for Will, for me.

11:53

Ah, yes. You, I propose,

11:56

should die. What? Only to

11:58

appear so as your Juliette... Right.

20:00

What is the word? Well,

20:03

I suppose that depends on the words that you're

20:05

looking for really. It doesn't. I mean there

20:07

are lots of them. Lots of word. Words.

20:09

Words? Plural word. I think we should start

20:11

with just the one for now. Word. Word.

20:16

Word. The

20:19

word. The

20:21

word. The

20:24

word. The

20:26

word. Tip of my... No,

20:30

never mind. Genius

20:34

is hard to understand sometimes.

20:38

Indeed it is. But in this

20:40

case it is your genius. You

20:43

wrote this Henry IV. And

20:46

would I be right in thinking that you wrote

20:48

every one of Shakespeare's plays since Romeo and Juliet?

20:51

How do you know that? Because you are not

20:53

the first Shakespeare master mirror. Well,

20:55

technically I suppose you're not even the second.

20:58

So Will is still suffering from a

21:00

block. And from the sounds of

21:02

it just now it is even worse than ever. It's

21:05

terrible. I

21:07

was with him once when he tried to write

21:10

a sonnet in a park. He

21:13

got three lines in before screaming

21:16

some words I dare not repeat and feeding

21:18

the parchment to a goose. And

21:20

if you are now writing Shakespeare's plays, would

21:23

I be right in thinking that it was Lord Hunston

21:26

who arranged it? You

21:28

know of his role in this? I

21:31

know well that he is a demanding patron.

21:33

And this is once more proven by the

21:35

fact that you have in the space of

21:37

a year written not only this Henry, but

21:39

what was it? Three more plays? Yes,

21:43

I have the most

21:46

terrible quill wrist. It does sound

21:48

a bit harsh a pace. And

21:50

yet Lord Hunston is a man who

21:52

would not hesitate to threaten your life

21:54

to ensure you continue writing and his

21:57

business interests continue uninterrupted. I...

26:01

no, not, nor what I'll do for... I

26:04

was prenticed to the theatre since I was a lad. I'd

26:07

play... Katarina, Hermia,

26:10

Lady Anne. I

26:12

brought audiences to tears before my

26:15

voice did break. Of

26:18

other work I know but little. You

26:21

are a man of great imagination. Surely

26:23

you can think of something you should like to do. I

26:26

know what I should not like. And what is that? Anything

26:29

that involves anyone making

26:32

phallic puns. Then

26:34

might I suggest you avoid finance. But

26:37

perhaps a new trade in the world outside

26:39

of London. The world outside

26:42

of London? It

26:48

is better than the world beyond. You

26:51

have my thanks. But what

26:53

of the place? Will they continue without me? No

26:56

one way or another I'm sure. But

26:58

I prithee, grant me one favour.

27:01

Well, anything. Before we commence

27:03

your disappearance, speak a word to

27:05

Will. Endeavour to nudge him

27:07

out of his rut. How?

27:10

I know not, Master Miller. I

27:13

am not a writer. But

27:15

you very much are. Perhaps

27:17

you have the words. He

27:20

did not have the words. Shakespeare

27:23

was as feckless as ever. I

27:27

had read this block once. Tried

27:29

to send a text to an ex. Really

27:31

didn't know what to write. We

27:33

continue our story two years later.

27:36

In the meantime, Shakespeare's company,

27:39

or rather Lord Hunston's company,

27:42

had gained even greater success. They

27:45

had moved into a new

27:47

purpose-built theatre, The Globe.

27:50

And the Brotherhood moved with them. Using

27:53

the backstage rooms as our place of business worked

27:56

exceedingly well. Even

27:59

Lord Hunston. and did not suspect a thing.

28:02

He assumed we were part of

28:04

the backstage crew and never gave

28:06

us a second thought. We

28:09

could carry all sorts of contraptions

28:11

in and out, in broad daylight,

28:13

and people simply thought they were

28:15

props. Even corpses? Oh

28:18

no, not corpses. The

28:20

smell would give them away. Talking

28:22

of smell, is mine off? You're

28:26

rude. It is fine. Are

28:28

you sure? I've been brushing off the dirt like you

28:30

said, and it feels soft.

28:33

You sure it's not rotten? Paltar's root

28:35

can feel soft to the touch. It

28:37

is perfectly normal, and I

28:40

assure you the smell will disappear once

28:42

it is brewed. Okay, so

28:44

now I just chuck this in a

28:47

pot? Well, the

28:49

procedure is a tad

28:51

more complicated. What's

28:53

next then? Mine's ready too. Ah, next

28:56

we wash them. But we

28:58

already brushed them. Oh, but they

29:00

must be absolutely clean. Please,

29:03

each of you take a cup of

29:05

water and rinse your root thoroughly. If

29:08

the dirt will not come off, you must

29:10

rub it clean. With what? My

29:13

blouse? It's kinda sweaty. There

29:16

are clean clothes in that tin over there.

29:20

Cloths, brushes, cups, a pan,

29:22

a bucket, a chest full

29:24

of kitchenware. It was

29:26

some collection you had hidden out there. Okay, climbing

29:28

into the cave, I cut my feet in so

29:30

many places my souls look like a Ravensburger puzzle.

29:33

Oh, I will take your mind off it.

29:36

Whilst we wash the roots, let

29:39

us move back to 1600 to

29:43

Shakespeare's Globe. In

29:47

season 2 of Reformation Abroad, we rejoin Team

29:49

119, who's facing the aftermath

29:52

of a prison riot on the edge

29:54

of a black hole. Here's a

29:56

quick taste of season 2. I

30:00

would have been nice to know about this plan ahead

30:02

of time maybe. The two of you are going to

30:04

have to keep an ear to the ground for any

30:07

and all signs of organized insurrection. Our most

30:09

promising lead is a recent invitation to one

30:11

of their lights out meetings in the lavatories. We

30:14

are inching closer and closer

30:16

to taking flight. I don't

30:18

know how you can side with them man. This is

30:20

called tying up loose ends. All

30:23

of them. Security 1-4 this is

30:25

Echo 9. We have a prisoner who is running to

30:27

unauthorized territory. He is making his way to the reactor

30:29

room. Be

30:33

sure to check out season 2

30:35

of Reformation Abroad, an immersive science

30:37

fiction audio experience wherever you listen

30:40

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31:24

My father's spirit in arms. All is

31:26

not well. I

31:29

doubt some foul play with the night

31:31

one. Hello? Hello?

31:35

Ah, Master Ned Fitton. Or

31:42

should I say Horatio? How's

31:44

the crowd tonight? Decent enough.

31:48

But tonight is the night.

31:51

Is everything prepared? Of course Ned.

31:54

Soon you will be free of the burden of

31:56

writing as the last in a sorry line

31:58

of Shakespeare's. At last.

32:00

Yes. Since our first meeting

32:02

before opening night, I've often had the chance to

32:05

listen to this Hamlet of yours. And

32:07

I must say... Yes? You

32:10

really need a break. Is

32:13

it that obvious? Oh yes. It

32:16

is very good, of course. You are kind.

32:18

But the mental torment, Hamlet's

32:20

ambiguous insanity, Ophelia's unambiguous insanity,

32:22

the death, the revenge, the

32:25

death, the pondering, the death,

32:27

the bleakness and, oh yes,

32:30

the death. Too

32:32

much death? Well, I'm not

32:34

a playwright, Master Fitton. I cannot judge.

32:37

But it does seem like the work of someone

32:39

who could do with a bit of time off.

32:42

I do indeed. For

32:44

Will vexes me beyond all endurance.

32:48

Ah yes. First the writer's

32:50

block and now the insistence on providing

32:52

feedback. Alas, it has become

32:54

even worse than that. How

32:56

so? Though Will can no

32:58

longer pen the plays himself, all

33:01

the world believes he still does. Thus,

33:04

like Phoebus, he shines bright.

33:07

And with that comes demands and

33:09

entreaties from lofty patrons. Most

33:12

recently, he promised the Queen a

33:14

sequence of sonnets which is due

33:16

on the morrow, on the

33:18

subject of love. A

33:21

scarce have time for a glass

33:23

of renish wine with friends, such

33:25

is the pace of Hunsden's demands

33:27

for new plays. So

33:30

what no eye of love. Come, come. Are

33:33

you not the author of much ado about nothing, of

33:35

as you like it? Exactly.

33:37

Yes, yes, I see. So

33:40

then, your disappearance. Tonight.

33:43

It is all arranged and

33:46

safe? It is. No

33:49

going back. Indeed, no. I

33:52

am determined to be my own master,

33:55

to write plays under my own name.

33:58

I do not wish to merely be another. unknown

34:00

writer of the plays of

34:02

William Shakespeare, I wish

34:04

to be known as myself, the

34:07

playwright Ned Fitton. Except

34:09

not Ned Fitton. Yes, I've

34:12

been thinking about this. Master Fitton,

34:14

to reappear under your real name

34:16

is not to disappear at all.

34:18

Lord Hunston would realise very quickly,

34:20

and I'm afraid our speciality is

34:22

in the feigning of death. Not

34:25

in the resurrecting of the

34:27

spectacularly foolhardy. I understand, sir.

34:30

I realised you are right, and

34:33

I've decided on a different name. Oh

34:36

good, what is it? Senor

34:39

Fernando Renard. Um...

34:44

Do you not like it? It's more

34:47

I suspect you will not like it.

34:49

Why not? Partly because it is terrible,

34:51

but it's more that you would be

34:53

safer calling yourself Master Definitely Not a

34:55

pseudonym, please find me not. I see.

34:57

No, it must be something unassuming. Bland.

35:00

But as a playwright, do I not

35:03

want to capture attention? It depends on

35:05

whether you want to be a living

35:07

playwright. And... I do. Thomas.

35:10

Who? No, I'm proposing

35:12

Thomas. Is the

35:14

name Thomas Bland? Compared to

35:17

Senor Fernando. Yes, I

35:19

see. And for the surname, I

35:21

think something very generic. Perhaps

35:23

something that just sounds like you're named for

35:26

a town somewhere. No where

35:28

interesting, just a middling sort of place. Hmm...

35:31

Oh, um... How do you

35:33

feel about Middleton? Neither one way nor the

35:35

other. Then it's perfect! Thomas

35:37

Middleton it is. The name

35:40

says nothing. Just the

35:42

blank page you need. Let

35:44

the work speak for itself. And

35:46

besides, Fernando Renard sounds

35:49

French Italian. And I'm

35:51

afraid that won't wash with the English

35:53

audience. Who incidentally don't tend to wash.

35:57

Yes, the stench from the pit is

35:59

really quite something. But the

36:01

stage, it is all set? Oh, indeed it

36:03

is. Horatio's next

36:05

scene awaits. And

36:08

you know the moment. I

36:11

do. Good luck, Senor

36:13

Fernando. Really? No,

36:15

I just wanted you to hear it. The

36:24

air bites shrewdly. It is very

36:26

cold. It is a nipping and an eager air.

36:29

What hour now? I think in lacks

36:32

of twelve. No, it is struck. Indeed,

36:34

I heard it not. It

36:38

then draws near the season wherein

36:41

the spirit held his warden.

36:46

Dear God. Yeah.

36:52

My goodness! What

36:55

devilry that Horatio has

36:58

fallen down some door

37:01

of trap. Shut up,

37:04

Roger. Shh.

37:08

You are fine. You

37:10

are fine. The mat took the weight.

37:16

What is that? Blood. Blood?

37:19

Blood. What

37:22

blood is this? The

37:24

butchers, technically. The butchers?

37:28

This is animal blood. What you eat

37:30

were a person's. I'd rather it... Stop.

37:34

Splash. Blashing blood upon me. I shall

37:36

hide the mat. Go

37:38

limp and keep your eyes shut.

37:41

They are going to carry you out of here

37:44

to your home. And you are

37:46

going to tragically die of your injuries in

37:48

a few hours. But you... Shh. They

37:51

will be here in a moment. Just keep

37:53

limp. Who are you? That is unimportant. Who

37:56

are you? I'm Ned

37:58

Fitt... I'm

38:01

Thomas Middleton. No,

38:04

correct. As of tomorrow.

38:07

Godspeed, Master Middleton. Ah,

38:15

we'll live. We'll do something.

38:18

We'll do something. No,

38:21

no, no, no! We've

38:29

lost the door. What's he planning

38:31

to do now? We can't just stand here, will? Will

38:34

the audience are waiting? Roger, go get him out of

38:36

there. Oh, Master

38:39

Shakespeare, are you quite well? You

38:41

look most affrighted. Hello. Hi.

38:45

Hi. You... you...

38:53

Master Shakespeare, whatever your trouble, surely it is

38:55

not as bad as all that. Sir! Could

38:58

you please come out? My Horatio has fallen

39:00

down the stage trap door. Oh, my. He

39:03

is unconscious, and now we

39:05

are an actor short. The performance is growing.

39:09

Right. Well, there is no use losing your head,

39:12

Will. But the audience... The audience are waiting. They're

39:15

restless. They show riot if we

39:17

resume not. I'm not getting angry. I'm just getting...

39:19

I want to make art, Will. He has a

39:21

tone of voice that's very frightening. Right. Um, you

39:24

have no Horatio. It is true. But

39:26

this is your play. You must take control.

39:28

Will, please come out. Listen

39:31

to that. Preferably before

39:33

they break down this door. Will. So,

39:35

what will Will do? What... what... what...

39:38

Mmm? Let me...

39:40

okay. Um... One thing that might... Well,

39:43

perhaps if... Is... is... Well, we... Yes,

39:46

yes, yes. We may probably put our heads together and come

39:48

up with a solution. Right. Right.

39:52

Well, perhaps if you recast the part... Surely

39:54

another of the players can take Master Fitten's

39:56

place. They must know the play

39:58

well enough. That is

40:00

just as Burbage, I hamlet suggested. Right.

40:03

Yes, he devised a plan to have each actor move

40:06

up a part. Laertes becomes

40:08

Horatio. Rosencrantz becomes Laertes. Gertenstern's now at

40:10

Rosencrantz. Foth and Brass will play Gertenstern,

40:12

and so on, and on, and on,

40:14

and on. Well, that is a fine

40:16

idea. Yes, but the players refuse. What?

40:21

Even Richard Burbage cannot convince

40:23

them. Why? They

40:26

say they're ill-prepared. That

40:28

they would stumble through. That they

40:30

would look as fools. The

40:33

grandlings in the pit can be cruel. And

40:36

no one wishes to spend their evening washing

40:38

putrid vegetables off their ramen. But surely the

40:41

work clings to their minds. Tis

40:43

the work of a genius. A

40:46

genius, yes, but not mine. I

40:49

am a fraud. Calm now,

40:52

that is not true. I have not written a play

40:54

since Richard of the Third. Well,

40:56

that was a testament to your

40:58

capabilities, really. Back then. A

41:00

man is only as good as his last play, and

41:02

that last play was many last plays ago. Still not.

41:04

I have lost my gift. I

41:07

am a charlatan, who calls the

41:09

work of others his own. Right,

41:12

sir. Oh, well, methinks,

41:14

wilt, it is time to find the fire

41:16

within you. That

41:18

fire is gone, sir. Oh,

41:20

nonsense, such fires as yours do not

41:23

burn out. You are only afraid. The

41:25

town devans from my place the words

41:27

of an immortal. And I am just

41:29

a boy from Stratford. Tell

41:32

me what man would not be afraid in

41:34

the face of such expectations? None. None.

41:37

Nor can my words suffice. But

41:40

yours will. Yours can. Will,

41:42

you need to come out here and please come out.

41:46

I do not have them. Do

41:48

you not wish to find them again? We

41:50

need your help, Will. More

41:52

than anything. Yes,

41:55

indeed. Then all this fire needs

41:57

is a little air. What

42:00

do you do? I don't know. Get away from

42:02

that door. Get away from that door. Get away

42:04

from that door. What least can you say to

42:06

a man of feared? What least? At

42:08

least? At least? At least? And

42:11

go! Oh, oh, oh, oh! Pop

42:13

the measures! Yes, I will!

42:15

Come on! Hello. Right.

42:18

Are you a feared? What? Right.

42:22

Um... Are

42:26

you a feared? What?

42:30

Hmm. Are

42:33

you a feared to be

42:35

the same in your own act and

42:38

valor as you are

42:40

in desire? Gosh, I don't know what it

42:42

means, but that was good. Would you have that which

42:45

you esteem, the ornament

42:47

of life? The ornament of life?

42:49

And live a coward in

42:52

your own esteem, letting I

42:54

dare not wait upon the I would,

42:56

like the poor cat in

42:58

the adage. Oh. Hmm.

43:02

Screw your courage to the sticking place. Screw

43:06

you. And will not fail.

43:09

Gosh. Will?

43:13

That was really good. It

43:16

was? Yes, yes,

43:18

it was. Very,

43:20

very good. It was, wasn't it? Like the good old

43:23

days. It sort of just sort of came to me.

43:26

The words return. Huzzah!

43:29

God, does the character. She

43:31

enters my mind, fully realized. She demands, lived, grow

43:33

her ambition, those nobounds. Could

43:37

she possibly be from Liverpool or

43:39

Scotland? Yes,

43:45

that could work. We could take her to Edinburgh. Yes,

43:47

we could find a quill. No more writing, Will. Yes, sorry.

43:50

The performance. There's a performance to do. Are you

43:52

ready? Yes. Are

43:54

you ready? Yes. Yes. Yes.

43:58

Yes. Yes. So we

44:00

can hear you scoundrels! Yes!

44:02

Yes! Yes! Of course we

44:04

are! Then go and dazzle them

44:06

all with your new rolls, just

44:09

as with your old ones. The

44:11

audience will be none the wiser.

44:14

They never are! Settle and bend

44:16

up each corporal agent to this

44:19

marvelous feat. Yes! Away

44:22

and mock the time with fairest

44:24

show. False face must hide with

44:27

a false heart doff now. Yes!

44:31

To the stage! There

44:33

you go! Oh well.

44:37

Well done, Will! Thank you. Yes!

44:42

But tell me, why do you linger? I

44:45

feel as though I forget something. What?

44:47

No, nonsense! Go! Enjoy

44:50

your triumph! Enjoy the triumph, yes, but there's

44:52

something, something, something, something. What now? Ah! Are

44:55

you all right? The gravedigger. The gravedigger? The

44:58

gravedigger. Oh! The gravedigger. The

45:01

gravedigger. Yes, all right. What about the

45:03

gravedigger? The gravedigger, man! If everyone moves up a part, the

45:05

gravedigger who comes last to stage has no one to take

45:08

above the we are out of actors at that point. Oh!

45:11

Damn! Oh. What?

45:14

Ruled yesterday that the gravedigger would be the one

45:16

to bury us. Oh, we're lost.

45:19

Lost. Lost. Lost.

45:22

Lost. Lost. Yes.

45:25

Lost. What? Unless.

45:28

You have a plan? Oh, oh,

45:30

he's got it. Oh, he's got it. Ladies and

45:32

gentlemen, the bard has it, yes. You. I'm

45:35

sorry? You. You. Me.

45:39

You, you beautiful darling man, you

45:41

can do it. Oh,

45:43

no. Haha, no, you, you

45:45

flatter me, master Shakespeare. I, I, I,

45:48

I, I, I mean I've dabbled, but I,

45:50

I, I have no, no actor. Oh, but

45:53

you've worked here for years. Although I have

45:55

a meaning to ask what exactly it is

45:57

you do. I don't know that at all.

46:00

Still, there are more pressing matters right now. Now,

46:03

you've had this play many, many times. You know

46:05

it. You know it. Well, that

46:07

is true. I mean, I do know

46:10

it. Will you not help a

46:12

poor playwright in his hour

46:14

of need? Well, um...

46:19

Very well. Oh, so exciting. I

46:21

knew you'd come through. Couldn't resist

46:23

it, could you? Marvelous spirit, marvelous

46:25

poise, that boy. Hit your mark

46:28

and speak past the fellows of

46:30

the back. There's nothing to it,

46:32

okay? Okay, costume. Get this matter,

46:34

costume. Our darkest, longest coat, if

46:36

you please. Oh, my

46:39

word, he's going to be

46:41

sensational. Stay

46:49

tuned for the epilogue. But

46:51

first, the credits. The Amelia

46:53

Project is a production of

46:56

imploding fictions. This episode featured

46:58

Allen Bergen as the interviewer

47:00

Hemi Yiroham as Kozlowski, David

47:02

K. Barnes as Will, Adam

47:04

Korting as Bakewell, Ben Galpin

47:07

as Miller, Pip Gladwin as

47:09

Fitton, Aaron King as Mia,

47:11

Jordan Cobb as Jackie, with

47:13

additional voices by Lawrence Owen,

47:15

Alexander Dana, Torgny G. Ondiro,

47:18

Benjamin Noble, Thomas Crowley, Patrick

47:20

Lamb, Tom Midler, Peter Steele,

47:22

and Owen Lindsay. The episode

47:24

was written by Chris and

47:27

Jen Sugden with story editing

47:29

and direction by Eistheim Braga

47:31

and Philip Thorne, audio editing

47:33

by Philip Thorne, sound design

47:35

by Alexander Dana, music by

47:38

Frederick Bardin, production assistance by

47:40

Marty Parvival, and graphic design

47:42

by Anba's Pedasm. This

47:44

show is free to listen to,

47:46

and we want to keep it

47:49

that way. However, that wouldn't be

47:51

possible without the generous support of

47:53

our patrons. Thank you to everyone

47:55

who is chipping in to make

47:57

this possible, and if you'd like

47:59

to become a supporter of our

48:01

content, supporter too, even just for

48:04

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48:06

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as well as our new bonus

48:16

series, Ittoball's Inventions. A

48:19

special shout out and thank you

48:21

to our Super Patrons, that's Celeste

48:23

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48:25

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48:32

Alison Throw, Patricia Bornwagner,

48:34

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48:36

West, Diana Bertchenbreiter, Tim

48:38

McMackin, Blythe Varnie, Parker

48:40

Percy, Natalee Aurora, Lee

48:42

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48:44

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48:47

Baez, Kourtney Mays-Renson, Booh,

48:49

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48:51

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48:55

Hall, LG, Helden, Inkhart,

48:57

Ryan Burnet, Robert Acker,

48:59

Super Cali Fragilistik, XB

49:02

Alex Nickel, Timothy Hess

49:04

and Reese Toaster. And

49:07

now, the epilogue. Come,

49:14

Argyll, my spade. There

49:17

is no ancient gentleman but gardeners,

49:19

ditches and grave makers. I'll

49:22

put a question to thee. What

49:25

is he that builds stronger than

49:27

either the mason, the shipwright or

49:29

the carpenter? Who builds stronger than

49:31

a mason, a shipwright or a

49:34

carpenter? Aye, tell me that and

49:36

enyoke. I cannot tell. Cudgel

49:39

thy brains know more about it, for

49:41

your dull ass will not mend his

49:43

pace with beating. And

49:46

when you are asked this question next,

49:48

say, a grave maker. The

49:51

houses he makes last still

49:53

doomsday. Go get

49:55

thee in and fetch me a stoop of

49:58

liquor. In

50:02

youth, when I did

50:04

love, did love. Methought

50:07

it was very sweet, to

50:10

contract, oh, the time for a

50:12

my behold. O,

50:14

methought there was nothing ameet.

50:18

Has this fellow no feeling that his business?

50:21

He sing, said grave-making. Custom

50:25

hath made it in him a

50:27

property of easiness. What age with

50:29

his stealing steps hath

50:31

clawed me in his clutch, and

50:34

hath shipped me into the land,

50:38

as if I had never been

50:40

such, a

50:43

pickaxe and a spade, a

50:45

spade for in a

50:47

shrouding sheet. O,

50:50

a pit of clay for to be

50:52

made, for such a

50:55

guest is meet. O,

50:59

a pit of clay for to be

51:01

made, for such a

51:05

guest is meet. The

51:23

Fable and Falling Network, where

51:26

fiction producers flourish. Hello

51:29

again, it's Pip here. I just

51:31

wanted to tell you about our

51:33

new bonus miniseries that we're releasing

51:35

between regular episodes. It's

51:38

called Ittoball's Inventions, and it

51:40

focuses on Kozlowski. If

51:43

you want to get inside Kozlowski's head, learn

51:45

about his deepest fears, desires

51:47

and philosophies, and hear tales of

51:49

his many inventions, then Ittoball's

51:51

Inventions is the series for

51:54

you. The first episode is out now,

51:56

and you can access it for just a few

51:58

dollars, either by becoming a patron or a patron.

52:00

Patreon supporter, or by becoming

52:02

a paid subscriber on Apple Podcasts.

52:05

In addition to getting bi-weekly episodes

52:07

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52:09

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52:12

week early. Oh, and also, your

52:14

listening experience won't be interrupted by

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pesky ads. More information

52:19

on patreon.com/Amelia Podcast, or you

52:21

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52:23

and click on support the

52:25

show. Thank you so much

52:27

for listening, and we'll be back soon.