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[Assistant] That's not even pretty pasta. I might take you up on that.


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[Assistant] Ready or not, someday it will all come to an end.


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[Assistant] It won't matter where you came from or on what side from the trucks you lived.


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[Assistant] What will matter is not your memories.


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[Assistant] But the memories of those who loved you.


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[Assistant] Live a life that matters doesn't happen by accident.


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[Assistant] As yet, I had spoken to no one, nor did anybody seem to take notice of me. I stood lonely enough, but to that feeling of isolation I was accustomed. It did not oppress me much. I leant against a pillar of the veranda, drew my grey mantle close about me.


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[Assistant] And trying to forget the cold which nipped me without, and the unsatisfied hunger which gnawed me within, delivered myself up to the employment of watching and thinking.


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[Assistant] My reflections were too undefined and fragmentary to merit record. I hardly yet knew where I was.


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[Assistant] Gateshead and my past life seemed floated away to an immeasurable distance.


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[Assistant] The present was vague and strange, and of the future I could form no conjecture. I looked around the convent-like garden, and then up at the house, a large building, half of which seemed grey and old, the other half quite new.


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[Assistant] The new part, containing the schoolroom and dormitory, was lit by mullioned and latticed windows, which gave it a church-like aspect. A stone tablet over the door bore this inscription.


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[Assistant] This portion was rebuilt by Naomi Brocklehurst of Brocklehurst Hall in this county.


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[Assistant] Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.


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[Assistant] I felt that an explanation belonged to them, and was unable fully to penetrate their import.


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[Assistant] I was still pondering the significance of institution, and endeavouring to make out a connection between the first words and the verse of scripture, when the sound of a cough close behind me made me turn my head. I saw a girl sitting on a stone bench near. She was bent over a book, on the perusal of which she seemed intent. From where I stood I could see the title. It was Rassulas, a name that struck me as strange and consequently attractive.


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[Assistant] In turning a leaf she happened to look up, and I said to her directly, Is your book interesting?


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[Assistant] I had already formed the intention of asking her to lend it to me some day. I like it, she answered, after a pause of a second or two, during which she examined me.


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[Assistant] The step was contrary to my nature and habits, but I think our occupation touched a chord of sympathy somewhere, for I too liked reading, though of a frivolous and childish kind.


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[Assistant] A brief examination convinced me that the contents were less taking than the title.


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[Assistant] Rasselas looked dull to my trifling taste. I saw nothing about fairies, nothing about genii, no bright variety seemed spread over the closely printed pages. I returned it to her. She received it quietly.


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[Assistant] Without saying anything she was about to relapse into her former studious mood. Again I ventured to disturb her.


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[Assistant] Can you tell me what the writing on that stone over the door means? What is Lowood Institution? This house where you'll come to live. And why do they call it Institution? Is it in any way different from other schools? It's partly a charity school. You and I and all the rest of us are charity children. I suppose you're an orphan? Are not either your father or your mother dead? Both died before I can remember.


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[Assistant] Well, all the girls here have lost either one or both parents, and this is called an institution for educating orphans. Do we pay no money? Do they keep us for nothing?


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[Assistant] We pay, or our friends pay, fifteen pounds a year for each. Then why do they call us charity children?


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[Assistant] Because fifteen pounds is not enough for board and teaching, and the deficiency is supplied by subscription.


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[Assistant] Different benevolent-minded ladies and gentlemen in this neighbourhood, and in London. Who was Naomi Brocklehurst?


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[Assistant] The lady who built the new part of this house, as that tablet records, and whose son overlooks and directs everything here.


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[Assistant] Hey everybody, I am Cinnamon Cooney, your Art Sherpa, and today I want to show you how you can absolutely paint this gorgeous peacock feather's eye.


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[Assistant] This is a really beginner, all level friendly painting. It's a great first painting. To help me do this is my husband John. Hello.


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[Assistant] I explain every color mix, every technique and every tool I use in real time and John helps me with that by making sure the cameras are pointing at what I'm demonstrating.


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[Assistant] This lesson is something like maybe you love peacocks and you decided you want to see if you could paint one, which you absolutely can.


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[Assistant] Or you can be doing this as part of the acrylic painting course. I want to congratulate you on either one and remind you that you can do this and this is supposed to be fun and easy.


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[Assistant] I'm going to try to help make sure that it stays that way for you. So just take a deep breath and realize we're going to do some colorings with our paints. Let's go on and begin with step one.


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[Assistant] So the first step of this is to lay out the basic zones of the peacock eye, which is really kind of a little diamond shape here and a little feather bone coming off there.


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[Assistant] Now, you can do this with chalk, right? So you could come up here with some chalk and I'm coming about a finger, finger and a half over. About a third of the canvas up.


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[Assistant] I'm bringing this round. The only thing about the chalk that has been hard is that you guys at home have a little trouble seeing it. So I'm also going to outline this in paint so that you can see it. Alright. I'm going to outline this paint. I'm going to take a number four round.


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[Assistant] I'm going to get it slightly wet and just get some glue to start with. This will really help you see where the lines are. So again, one and a half, two fingers over. I'm going to make a little fine line coming over this way and up a little bit. A little bit like a leaf.


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[Assistant] Right about here, we're gonna come back down. Curve around. Heading towards this corner.


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[Assistant] If you get a little too much going, like I feel like I have a little too much here on the side, like I can kind of sketch in.


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[Assistant] And because I'm doing, uh, blue on the outside, I'm gonna get a little white brush.


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[Assistant] Gonna soften this before it dries completely, because I don't want it to leave a hard line. I have a little bit of a one, but I want kind of a soft line to start with. That's looking pretty good. Now inside the eye, we have another little shape kind of going on. I've got to leave room for orange.


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[Assistant] And then they come down and down because there's a little bit of aqua that will also come in here.


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[Assistant] There we go. So that sort of lets us know where those lines are. There's a bright deep blue center, an aqua outer, and then some orange and golds around. The outside of this is the long part of the feathers.


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[Assistant] And so when we come back, we're gonna paint the first layer of the background in.


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[Assistant] So this next part is getting in the background. I'm gonna take my bright brush. This brush is about an inch in width.


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[Assistant] So, well, it is a number 10 black pearl. What you're looking for is a bright brush that's about this wide, and bright just means a shorter length out on those filaments, if you want to know more about that.


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[Assistant] We actually had a whole primer video about this. I'm going to come here on the wide.


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[Assistant] You can get a little white into it. Just like let it be a little bit streaky here.


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[Assistant] And the directionality of the brush also helps it feel like a feather. You can see I'm curving these lines around.


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[Assistant] It's really important to curve them around because that's what makes the, uh, feather feel like a feather.


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[Assistant] For two reasons. We're gonna have a lot of layers and the streaks are helping us


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[Assistant] Right up to that edge. As I come up to the top, I might come on the edge of my brush and just make sure that it kind of arcs out that way. Keeping a nice curve and flow. You can paint the edges of your surface if you want. You've got this. First layers, right?


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[Assistant] First layers are always good layers, and you guys have been doing amazing.


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[Assistant] I've been loving seeing the paintings from the first ten.


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[Assistant] I'm glad to know that this program has been working for everybody. I'm really proud of it.


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[Assistant] Definitely want to do more. So I'm going to come here again on the bright brush and I'm doing those S curving strokes.


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[Assistant] Now we have been getting some questions from viewers about primary colors and feeling like maybe their paint line doesn't have them.


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[Assistant] Your paint line does have them. There are some rare occasions that they just don't delineate that they're primaries.


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[Assistant] Uhm, but I've got a whole video on how to mix primaries where we really cover what's going on and exchanges in colors that really lend themselves to the primary mixing experience.


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[Assistant] So if you're having any trouble at all finding your red, yellow, and blue, but honestly this will work with just any other red, yellow, and blues that you have.


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[Assistant] If you're having any trouble at all, you wanna catch that video, it will change everything.


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[Assistant] And continue making this blue go out. You can see there's a definite flow to the brush strokes.


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[Assistant] Even when I come in and use my fan brush and I start putting in the feathers, this under painting here will make a huge difference.


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[Assistant] You can also just enjoy this and have a little fun with it. You know, if it's your first time painting in a while.


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[Assistant] You know, try not to be too intense with yourself. There is no, we were just talking about it the other day online. There's no pass or fail. Right? You're not looking to win at art.


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[Assistant] Even though we're doing a certificate, if you do the whole course, that's just to say that you completed the journey.


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[Assistant] That's not a, that's not a grading system. That's to say that you made the paintings.


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[Assistant] If you don't know what we're referring to, it's Dungeons and Dragons, a game we grew up playing.


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[Assistant] Uhm, we're gonna dry our canvas and we're gonna come back. We're gonna add some more layers, which is gonna help.


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[Assistant] Ring our peacock feather to life. You've got this. You can do this. Pickety breath. Pry your canvas. I'll see you in just a second.


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[Assistant] In the next layer, I want to put a little bit of the aqua around the center of the eye, and I'm going to use my angle brush for that. You could use your round, you could use your bright.


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[Assistant] Whatever brush you're feeling confident with, I just lack the edge and shape of the angle.


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[Assistant] And to get this color I'm going to take a little of my yellow over to my blue and I'm going to start the bases for a turquoise.


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[Assistant] Some white to the mix. You should be able to see the aqua. If it doesn't feel very turquoise or aqua, you can add a little more yellow.


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[Assistant] Or white as needed. When you get the color exactly how you like it.


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[Assistant] And begin the aqua band. And I'm making little just strong brush strokes.


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[Assistant] Yeah, one direction. I think I might have gotten a little big with my aqua there, but I can fix it in a second.


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[Assistant] Peacock eyes actually have a lot of variance in size. And, uh, there's only enough even color.


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[Assistant] They seem so uniform in our minds, but actually there's a lot of variety from feather to feather. Huh.


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[Assistant] Do not man, I'm watching nature show to find out though.


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[Assistant] I'm just taking these nice little curve strokes and I'm letting it be sort of a little bit rough. As you can see. They're nice there, isn't it? First layer turquoise.


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[Assistant] Alright, let's make that be a step. Because maybe you've never mixed aqua before. Which again, that reminder is blue and yellow and white. You're gonna want to take a little yellow to the blue.


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[Assistant] And then the color mix will get away from you. Let's dry this, come back and add the next layer.


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[Assistant] And our blue is pretty dark, but it's really, if you look at this, not that dark. So to create a darker blue,


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[Assistant] I'm gonna bring just a smidge of my red over to my blue. Smidge being a very technical term, John. But it's gonna take it more into an indigo space.


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[Assistant] And I'm gonna start to paint in this dark center of the eye.


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[Assistant] I find sometimes with blues that they're a little transparent. It can take one or two layers to get the deep coverage that's pleasing to our eye.


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[Assistant] You might feel frustrated with your painting because what you don't know is that paintings have stages. And you might be in an under painting stage. Where they don't quite look like themselves yet.


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[Assistant] Now I'm gonna bring a little of my blue kind of out a bit and sort of feather it. Can you see that? Where I'm just letting the edge of the bristles create an irregular line shape here.


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[Assistant] That's about just dragging it across. My brush isn't very wet. And my pressure that I'm putting down is very light. Are you guys liking these beginner classes? Are they hoping you figure out a bunch of those skills? Now while I'm here, I can come back.


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[Assistant] And sort of weave some of my blue back in here. That I'm doing? Yeah. Zippering up in the center.


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[Assistant] Bring some color in here. Never underestimate the power of white. Okay.


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[Assistant] So what this will need to do is dry and cure and set so I can bring another layer over it. While I'm allowing it to do it, I can do another layer within my painting. Let's come back and add that next layer.


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[Assistant] Around our blue is generally a kind of fiery ring of golds and oranges in different colors. If I'm gonna use my angle brush and I want it to be bright, I'm gonna want to make sure that any brushes that I plan to use


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[Assistant] are thoroughly rinsed out of blue. Now the first brush I'll use is my bright, and I'm using that one because


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[Assistant] I want to paint big areas pretty quickly. Sometimes a bigger brush will help you do that.


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[Assistant] I'm gonna take a little yellow over to my red, and I'm taking my yellow to my red because I want a darker orange.


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[Assistant] If I wanted a lighter orange, I would take a small amount of red over to my yellow. When I was mixing the color.


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[Assistant] I want to avoid this turquoise that I have here because I want it to stay bright and the blue will gray my color.


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[Assistant] And I can still have a little bit of implied line, if you see.


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[Assistant] And where these sort of edge, they give a darker little color in the glazing.


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[Assistant] And you may have noticed in our step by step photos that there's hints of pink and purple throughout here.


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[Assistant] Just breathe and know you can do this, that you've got this. You can absolutely do this painting and probably even surprise yourself.


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[Assistant] I always love it when new painters surprise themselves with what they can do.


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[Assistant] The thing to watch about is if you are a person who sets very high standards for yourself, right, which can be good.


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[Assistant] It can also cause some problems because painting is not, you know, winning. We're trying to just have fun and create.


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[Assistant] So remember to be easy with yourself in the painting process. And not hypercritical.


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[Assistant] Speak to yourself like you would talk to your best friend if they were painting next to you.


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[Assistant] My canvas is well covered. I'm gonna rinse this brush out thoroughly because orange and blue are gonna neutralize each other or grate each other out.


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[Assistant] And so I don't want any orange pigment in my brush when I go to get another color. Let's dry this thoroughly and I'll come back and show you the next layer of the feather.


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[Assistant] So I'm gonna have some fun here and I'm gonna use my fan brush to do it. If you don't have a fan for this, you can come back with just a very dry bright brush and a dry brush method.


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[Assistant] I have videos on that technique if you're not familiar with it. It's actually a lot of fun.


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[Assistant] I'm going to get my brush a little bit wet here, my fan brush. Now this is


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[Assistant] A hog bristle brush, which means it's made from the hair at the back of a hog, and the brush is stiff and won't separate when wet. And I have another brush here that does that as well. It's in my Art Sherpa line. That's what you're looking for in a fan brush, is one that doesn't separate on you. Now I'm gonna pull a little of my yellow out.


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[Assistant] From the main body of yellow, and really load it into my fan, and I'm gonna get a bit


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[Assistant] My blue and make very slowly a bright yellow green.


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[Assistant] Little water, you can see the load. I'm gonna come here and make


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[Assistant] And I bend the brush stroke out so it has a bit of a curve to it.


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[Assistant] I'm on the edge of my brush if I need to come around.


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[Assistant] The eye of the feather. There are several layers of this. So, of feather here, so you don't have to be perfect here. You just want to have this nice flowing, streaking kind of color going on. In this very bright green.


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[Assistant] Alright, come around the side here. And again, little S strokes.


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[Assistant] Notice that this is a dry brush, just like I talked about with the bright. That means a lot of the surface is showing underneath. I don't have a lot of water in the fan. And so there's a very rough and textural effect.


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[Assistant] It's a firmer when I want to remove more paint from my brush. On to the surface.


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[Assistant] Kinda starts to make the bone of the feather there, right? The quill of it. Really look gorgeous.


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[Assistant] Now the blue is very much complementing this bright saturated green that's on top.


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[Assistant] I'm just making sure that there's a noticeable flow around the feather. Rinse your fan out very, very thoroughly. Right.


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[Assistant] And when we come back, we're gonna get back into the center of our eye with a few more details.


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[Assistant] While this is drying I can come back in and really get the center of my peacock eye.


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[Assistant] To the place that I want it. I'm gonna very carefully make another deep blue. I don't want to get any of my yellow in there because I want the color to be very deep and indigo. And I'm gonna come in from the outside. Look how dark that is now, that deep blue that is.


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[Assistant] And if you were new to painting and you didn't know it would take a couple of layers, it could be really frustrating.


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[Assistant] You can't get that color deep in the first layer. It has to be in the dried, blazing over that layer.


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[Assistant] Rinse out very well. The reason is, and for the next one, I don't really want any red in my brush. I'm gonna wipe my brush off on a paper towel.


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[Assistant] And I'm going to make sure there's a little blue that's away from any other color, and I'm gonna take some white to it.


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[Assistant] I'm taking the white to the blue because I don't want it to be a lot lighter yet. I'm gonna bring this little mix.


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[Assistant] Of the pure blue and the white to the center of the dark blue eye.


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[Assistant] So that even the brush stroke kind of implies the shape of that feather. And we'll rinse that out thoroughly.


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[Assistant] We're really making the basis of a great cute peacock feather here. So let's get it back into our yellow. If we don't have enough yellow out, and I'm getting kind of low, I'm going to put a little more yellow out.


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[Assistant] And I'm gonna keep it away from where the green is because I know I'll use that yellow to make a darker green. I'm saving that little bit there for later.


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[Assistant] This, I'm gonna come in and just go my yellow first, letting it pick up on the bit of red that was already there. Come here with my half inch angle.


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[Assistant] Deeper yellow. Get some white into it. Here at the tip of the feather, and you can see that's also layered, isn't it?


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[Assistant] Layering is important. Come here and I'm gonna add a good bit of red. Again, we get it into a nice orange.


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[Assistant] In the way that our feathers tend to grow. About here, I might change my tactics a little bit. I might hit with just a little bit more orange.


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[Assistant] Midge of yellow, warm pink. Let's come here.


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[Assistant] And add that little pop of pink at the bottom of the peacock feather. I'm curving that little brush stroke out on the line. Curving it around. Following the direction of what's going on.


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[Assistant] That's so pleasant. It's pleasant to just paint feathers, I think, in my opinion. In my opinion, it's just very pleasant to paint them.


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[Assistant] Alright, let's dry everything, and I know we're drying everything on every layer. Don't skip the drying. You've got a hairdryer, that's great.


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[Assistant] Uhm, you can use a fan, even a folded up, remember making those folded up, uh, fans, accordion fans as kids? Any of that will work, just be the acrylic painting drawing process. But when it's dry, and you're trying to layer dry layers on it, that's the key. Let's try it, and we'll come back and we'll hit the


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[Assistant] So we're gonna add another little layer with our fan brush. I'm gonna go ahead and get it wet.


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[Assistant] And I'm gonna take a lot more blue over to my yellow and I'm gonna get a deep green. You see how much darker that green is?


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[Assistant] I'm gonna do the same thing I did before, which is very light pressure. Kind of dragging the hint.


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[Assistant] In art, sometimes it's fun to zoom in on a subject like a feather and get really close to it and do a study of just it.


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[Assistant] That's kind of what we're doing is we're doing a very up close study of the feather.


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[Assistant] Now while I'm here, I'm gonna rinse out my fan. And I've got my green.


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[Assistant] I'm going to come get a little of my yellow and make that bright green again. Let me get some white.


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[Assistant] This is really fun when we come back with a purple because it puts a little bit of that outer green inside the eye of the feather.


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[Assistant] This all needs to be quite dry and your brushes need to be rinsed out really well for the next part of the painting.


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[Assistant] For convenience, I'm gonna do the next part of this with my angle brush.


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[Assistant] And I'm going to get some just blue. If I need more blue, I may put out some more blue.


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[Assistant] I'm gonna come along here and do what I did with the fan, but in long little brush strokes. You can let a little yellow get into it.


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[Assistant] And a long little S-stroke, see. Right along here, curving it along.


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[Assistant] You're gonna see me swing down and swing an arc up, all on the edge of the brush.


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[Assistant] What are those little tiny pin feathers actually called, technically? Uh, pin feathers? You mean internet, I bet you know.


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[Assistant] The internet knows, it always knows. When I don't know a thing, the internet always answers my question. In the comment. Down below. With varying levels of helpfulness. I'm gonna move my water cup out of the way a little bit, and I'm gonna kind of.


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[Assistant] Make sure that as I come along here, I've got some nice long, really individualized lines. Kinda really creates the body. Up here I might


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[Assistant] Specifically piece out some at the head of the eye, just so that


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[Assistant] I'm feeling very sure of my line. Alright, so this is really line practice, isn't it?


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[Assistant] And we're so close up that the edges of this feather are off the canvas.


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[Assistant] That makes it kind of nice for us as a painter. I'm adding just the smallest amount of yellow to this blue. Just so it's got the hint of the green to it.


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[Assistant] And it's darker, which is why we're not adding any white. We want it to be darker. Look at that come together.


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[Assistant] There it is. And it has that feel and look of a peacock feather. I'm going to rinse out very thoroughly. I'm going to dry this again. I know. I've been saying this whole lesson. Dry, dry, dry, dry, dry, dry, dry. I guess you can go.


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[Assistant] But we're gonna just make sure that it's dry. Sometimes knowing when those layers have to be wet or when those layers have to be dry is that difference between being really successful in your painting and being really frustrated in your painting. So I think it's important that I tell you. So you're not surprised by it at home.


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[Assistant] Dry is your friend right here. We come back? Let's add some details, John.


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[Assistant] At this stage of a painting, there's these final little touches of people who painted with me for a while.


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[Assistant] I really love it when I do these in eyes or different little elements where it's like, it's good, it's good, it's good, and then the little elements come together and it's like, wow! So this is your wow moment in your painting.


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[Assistant] So let's grab our half inch angle. I'm going to get a little bit wet, right? I'm going to bring out some red.


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[Assistant] That's a pretty dark purple, so I'm gonna want that purple to show and I'm gonna add white to it to get it to show.


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[Assistant] Of my peacock feather. I remember I mentioned it was going to be tipped in a little bit of purple.


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[Assistant] Making sure I'm kind of blending it there. See I'm kind of a little open stroke. Rinse out. Looks close.


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[Assistant] Close, close, close. So we have a little bit of our, uh, yellow and blue left and we can keep making some really cool turquoise.


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[Assistant] I'm gonna add a little bit, one that's maybe a little more yellow and green. I'm gonna dry brush over here. See how it does?


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[Assistant] This is just a little extra dimensionality on the painting. I'm going to take this brush and curve back the opposite way. That's kind of like zippered. That's applying the quill that we don't see.


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[Assistant] And then we'll just add a little bit of this kind of dry brushed aqua.


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[Assistant] Dry brush a little bit of that very light pink right there. Dimensionality in that feather, right? Dry brush a little bit back, those layers. The dark pink underneath, it's showing. Right, it's still showing. It didn't go away. It's just layering out.


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[Assistant] And because I don't want it to get dirty, I'm gonna take a little bit of yellow over here, and my white, and I'm gonna make like a ducky color.


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[Assistant] The orange is still showing through underneath. Now, this feather is very colorful. It is. Super vibrant.


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[Assistant] Now I've got all my bright colors out. I can come and get to my, uh, black finally. And I'm going to.


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[Assistant] And I'm gonna go ahead and make a very very light yellow green for that.


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[Assistant] Just so that it shows, but it doesn't take away from the whole painting when I go to sign it. Come down here at the corner.


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[Assistant] Sometimes you just have the round around shoes, sigh, and the painting. That's okay.


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[Assistant] A lot of presents for a lot of peacock lovers, because there's so many of them out there.


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[Assistant] But I really wanted to do this one for a while, so I'm really glad you guys joined me for it. When we come back, I'm gonna tell you guys what you should do next.


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[Assistant] I'm really hoping you enjoyed not only the result, but the experience of painting it. I highly encourage you


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[Assistant] Just really try to make your art time fun and


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[Assistant] Very critical of ourselves and remember that this is just for joy and this is for fun and it's for creative expression.


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[Assistant] Speaking of, I'd love to see your creative expression, so if you'd like to share your finished painting with me, I've got all kinds of places online, all the social places.


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[Assistant] And you can just tag me in at The Art Sherpa or you can go into our Facebook group or you can share on our website. Love to see your version of the painting.


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[Assistant] If you are doing the ten first paintings with a beginner acrylic course, I want to congratulate you on completing today. Remember, you are doing this at your own pace, so don't put a lot of pressure on yourself to go really fast. Just sit back and enjoy learning and pulling all these techniques together and these concepts that we discussed from earlier.


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[Assistant] If my talking about the beginner acrylic course has enticed you, definitely go check that out on the website. It's free. It'll be available for you all year.


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[Assistant] Now we're going to give you a peek of what the next painting is at the end of this video. So if you'd like to see what you could do next.


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[Assistant] If there's something else you'd like to paint, chances are I have it. I have 1800 step by step painting videos. So don't forget to hit that like, comment and subscribe button because there'll be more art lessons like this for you all year.


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[Assistant] I am serving a 40 to 60 year sentence. As God is my witness, I am not guilty.


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[Assistant] We get flooded with lettuce from all over the country. They're human beings who are claiming to be wrongly convicted.


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[Assistant] We realized that there were so many things wrong with this system. So we started the Innocence Project.


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[Assistant] Thunder Emperor's Fangs and the Chaos. Two flag cards created by the Mirage card.


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[Assistant] Okay, we're here with the President. We're very excited to be here. I'm very excited to be here. We're very, very grateful. Thank you very much. Uhm, you must be a little wistful. You must be a little like David Ortiz about a month ago, uh, where you know you're


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[Assistant] So we're a week out from the election, and uhm, I, you're a history buff. I think when we look back, if Mr. Trump is defeated, I'm hopeful that we will be, the takeaway will be that uhm,


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[Assistant] Socialism was not such a dirty word anymore because of our friend Bernie Sanders.


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[Assistant] And, uh, I'm just wondering, as someone who was accused of being a socialist before,


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[Assistant] What do you think about the idea that in America, yes, we're capitalists, but some things just should not be for the profit motive. Healthcare, uh, prisons, the military, elections, and I would add news gathering. People say get the money out of politics. I think you gotta get out of the news business first or we're never gonna learn anything.


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[Assistant] Okay, let me ask you about a question that I know people who watch our show are interested in, which is marijuana reform.


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[Assistant] No, we both made jokes about it, but it's not funny to the people who get arrested, which is over half a million I think last year. Uhm, you know, you and I both could have had our lives ruined, not really by smoking it, but by being arrested for it.


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[Assistant] Uhm, and you know, I feel like you had a checklist about let's get rid of a lot of the stupid stuff like opening up Cuba. You know, you came out for gay marriage.


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[Assistant] I was hoping ending the drug war would be on that list. It's on the ballot now in nine states in a week, including California for recreational and Arizona, and medical in places like North Dakota. Isn't it time the federal government caught up to progressive states like Arizona and North Dakota?


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[Assistant] Switching topics, I don't know if anybody from my tribe of atheists ever thanked you for giving us a shout out at your first inaugural, but you did mention non-believers. I think it was probably more than once.


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[Assistant] More than one. I mean, it's not just in that speech. I've done it often. Well, we appreciate it. Because we do feel like untouchables to a degree. I mean, I don't know if you saw the latest religion survey, but almost a quarter of the country are nuns. I don't mean the ones who


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[Assistant] No, they're atheists, agnostics, or they just don't want to get up on Sunday morning.


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[Assistant] And, uh, we have no representation in Congress. If our numbers were represented, there'd be over a hundred Congress people who felt that way. Uhm, it just seems like, uh, we are not included in the


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[Assistant] Basket of diversity in America which is odd because we are the biggest minority. That is a bigger minority than any other minority you can name.


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[Assistant] Okay, I want to ask you this question. Again, it's an issue I think you don't get asked a lot about, but it's important to my audience. I know people will roll their eyes and say, it's so California to ask this, but food purity.


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[Assistant] Something that means a lot to me. Somehow it got to be elitist or liberal.


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[Assistant] I feel like we're upside down on food. We eat too much corn because we grow too much corn because we subsidize too much corn. And, you know, one of the problems with the Affordable Care Act is that people were found sicker.


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[Assistant] And that's partly because of the food, I think. And obesity and all the work that Michelle's been doing. Yeaah.


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[Assistant] We just got back the science and it says it doesn't increase the yield. Well, exactly. And they use just as many if not more pesticides.


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[Assistant] You think we ask too little of the public?


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[Assistant] Politicians, you know, of course, are always kissing up to the public and saying things like, if you only had a government as good as the people.


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[Assistant] But the people aren't very well informed. They don't exercise their right to vote. And when they do, they don't know much about it.


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[Assistant] I just feel like we don't, we don't ask the people very much. We're afraid to ask the people, eat better.


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[Assistant] You know, the phrase was, yes, we can. I feel like they're not pulling their weight on the we. It's a partnership with them. Eat better, vote more, learn something.


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[Assistant] We have more troops in more places than any empire in the history of the world.


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[Assistant] Uhm, we spend over $600 billion on defense, and that's not including the nukes, taking care of veterans, homeland security, when you add it all up, it's probably over a trillion to keep the monsters away.


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[Assistant] Wondering if we could be just as safe spending half as much. Eisenhower warned when he was


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[Assistant] Yeah, I know you're off to Ohio, right? You've got an election to rig.


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[Assistant] Uh, and, uh, I want you to get out there because, uh, boy, it's a very nervous time for a lot of people who are worried about Mr. Trump.


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[Assistant] I mean, I can share this with you.


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[Assistant] That's right, the Pro Shop is the platform store where you can go and buy all the latest merch to support the platform.


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[Assistant] Artists, like most artists, they hate their biggest song.


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[Assistant] You know? Like, this album, there's no features on it at all.


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[Assistant] Loves your curves, all your edges, all your perfect imperfections. Give your all to me. I'll give my all to you. You're my end and my beginning. Even when I lose, I'm winning.


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[Assistant] Cause I give you all, all of me, and you give me all, all of you. How many times do I have to tell you?


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[Assistant] I'm around through every mode. You're my downfall. You're my muse. My worst distraction.


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[Assistant] My head's underwater. But I'm breathing fine. You're crazy. And I'm out of my mind. Cause all of me loves all of you. Love your curves and all your edges. All your perfect imperfections. Give your all to me. I'll give my all to you.


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[Assistant] You're my aunt at my beginning. Even when I lose, I'm winning. Cause I give you all of me.


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[Assistant] Now, I'm sure I speak for all when I say that you needn't stand on such formality with us. Let it be Catherine and Ralph.


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[Assistant] Long is the way and the mountains are wild.


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[Assistant] Soon will the twilight close, moonless and dreary.


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[Assistant] Over the path of the poor orphan child.


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[Assistant] Up where the moors spread and grey rocks are piled.


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[Assistant] Men are heart-hearted and kind angels only.


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[Assistant] Watch all the steps of a poor orphan child.


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[Assistant] Yet distant and soft the night breeze is blowing.


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[Assistant] Clouds there are none and clear stars be mild.


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[Assistant] God in his mercy protection is showing.


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[Assistant] Comfort and hope to the poor orphan child.


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[Assistant] Even should I follow the broken bridge passing.


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[Assistant] Oh, stray in the marshes by false lights beguiled,


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[Assistant] Still will my father with promise and blessing Take to his bosom the poor orphan child.


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[Assistant] There is a thought that for strength should avail me.


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[Assistant] Though both of shelter and kindred despoiled.


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[Assistant] Heaven is a home and a rest will not fail me.


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[Assistant] God is a friend to the poor orphan child.


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[Assistant] Come, Miss Jane, don't cry," said Bessie as she finished. She might as well have said to the fire, don't burn.


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[Assistant] But how could she divine the morbid suffering to which I was a prey? In the course of the morning Mr. Lloyd came again.


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[Assistant] What, already up? said he as he entered the nursery. Well, nurse, how is she? Bessie answered that I was doing very well. That she ought to look more cheerful. Come here, Miss Jane. Your name is Jane, is it not? Yes, sir. Jane Eyre. Well, you've been crying, Miss Jane Eyre. Can you tell me what about? Have you any pain? No, sir.


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[Assistant] Surely not. Why, she's too old for such pettishness. I thought so too.


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[Assistant] And my self-esteem being wounded by a false charge, I answered promptly, I never cry for such a thing in my life. I hate going out in the carriage. I cry because I'm miserable. O fie, Miss! said Bessie. The good apothecary appeared a little puzzled. I was standing before him. He fixed his eyes on me very steadily. His eyes were small and grey, not very bright, but I dare say I should think them shrewd now.


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[Assistant] He had a hard-featured yet good-natured looking face. Having considered me at leisure, he said, What made you ill yesterday? She had a fall, said Bessie, again putting in her word. Fall? Why, that's like a baby again.


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[Assistant] My last meal. Probably like mashed potatoes and gravy. With like a roll.


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[Assistant] I cannot stand stank, okay? Like, like, put some deodorant on, take a shower.


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[Assistant] I really don't know if you can. I think if you like it, that's all that matters. I mean...


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[Assistant] I have a question. Uhm, in the biofeedback,


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[Assistant] The level of comfort, uhm, for that feedback for different people or even the mental models they have for that feedback.


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[Assistant] Do you think about personalization or how do you go about that since so much of the work you're doing is conveying all this information through auditory channels?


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[Assistant] We make each other laugh a lot and we entertain each other and we, you know.


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[Assistant] Uh, we have a few questions that are already in the form. As a reminder to everyone, if you would like to ask a question, please, um, submit it to the link I just sent out. Uh, panelists, I'll, uh, I'll ask a couple on behalf of the students and then, uh, feel free to jump in with any questions you have.


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[Assistant] Folks abilities are so diverse and specific, how you think about the line between uhm,


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[Assistant] Creating bespoke solutions and generalizing your solutions for a larger set of abilities. So how do you balance those two?


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[Assistant] So in that sense, does it make, you know, when I think about the stakeholders for these kinds of designs, there's the end user, but it also seems like the, I'm sorry, I forgot the term you used for them, the sort of occupational therapist essentially becomes


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[Assistant] Sort of the trajectory of brain computer interfaces for this kind of group.


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[Assistant] We wish it could have been in person, but we're thrilled that we got to hear from you regardless. And I know a number of members of our community are meeting with you throughout today, so thank you for spending some time with us.


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[Assistant] What am I to you? Written by Chris Medina.


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[Assistant] Yeah, you say them out loud. Those words, they never go away. They live on even when we're gone. And I am an angel was sent just for me. And I know I meant to be where I am. And I'm gonna be standing right beside her tonight.


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[Assistant] If you really don't need them, when you say them, what are words? If they're only for good times, then they're done. When it's love? Yeah, you say them out loud. Those words, they never go away. They live on even when you're gone. Anywhere you are, I am near. Anywhere you go, I'll be there. And I'll be here forevermore.


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[Assistant] Every single promise I keep, because what kind of guy would it be if I have to leave? When you need me most, I'm forever keeping my angel close.


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[Assistant] Love. It's never too late. My aunt died back in about 2003. She was 84 and so was my uncle. When she passed he was devastated. They had been married for over 60 years.


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[Assistant] His only daughter lived clear across the country so he had only the rest of the extended family and church family to comfort him. My cousin talked him into selling the house.


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[Assistant] That he and my aunt had built together about 25 years ago.


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[Assistant] But at least the last moment, my cousin and he saw a new house for sale. That was close to his business. She helped him buy furniture and a flat screen television.


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[Assistant] He had not watched television for years because of his religion.


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[Assistant] He said he just wanted someone to go up to dinner and spend time with. We were happy for them, but had no idea how it would turn out. They were both almost 70, 87 years old. They were both like lovebirds and spent as much time together as they could. They both had one child each. She had a son. He had a daughter.


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[Assistant] She had a house that her father built for her when she got married to her first husband. She was content there.


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[Assistant] They were in their middle 80s and both had their own family businesses.


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[Assistant] She worked for her son who took over the family business and he had his own business.


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[Assistant] That she had attended for many years, and he went to his, which was a Pentecostal. They decided to remain friends, but nothing more. He was brokenhearted, but felt that his religion was the only way.


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[Assistant] That they had a big write up in their own local paper. The truth for Valentine's Day. They prepared for the wedding. They moved the wedding date up.


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[Assistant] Because neither of them wanted to wait any longer to be together, and it was not proper to be together without being married. They got married in her house, where they decided they would live. Her son and daughter-in-law stood up with their


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[Assistant] His son, a 93 year old brother, and his girlfriend stood up with him. It was such a beautiful, refreshing thing to see. See people?


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[Assistant] We have thought pretty much, live their lives, we'll be getting a new one together. I have never seen my uncle half year.


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[Assistant] He will still love, and she loves him as much as he loves her.


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[Assistant] And they have been married now for almost two years. They're both going to be 90 in the next two months. And still worked part-time.


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[Assistant] They love their life altogether. They still maintain their own home and go to church, out to eat, and with your family and friends. It is never too late to find true love again, or for the first time.


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[Assistant] So you think you'd have won it from the start, huh? You think you're the head man around here?


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[Assistant] Honey, I don't ask you to remember anything. Just that our love was the first love. The true love. The love that lives forever.


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[Assistant] Well, here's happiness for one. And misery for the other.


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[Assistant] Don't say it that way. I was supposed to be back in a month, and when I realized I wouldn't, when I came to on this island...


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[Assistant] All the time. I'm nearly one man, lying alone at night, remembering you just as you were when you kissed me goodbye. That little blue hat with a feather in it, those slippers with no toes, so tiny, that fur cape.


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[Assistant] That's what I remembered best. The last sight of you as I kissed you. And that was my torture. Wondering if I'd live to kiss you again.


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[Assistant] You can't back down now, not after you promised. Henry's strong, he can face it. Please, honey.


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[Assistant] You know something though? What? Maybe she couldn't help it.


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[Assistant] Sakura blue, MRB! The time has come for me to change into my adult form! Woah, really? After all these years? Yes, here I go!


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[Assistant] It's a beautiful day. Ah, but a sad one.


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[Assistant] She was trying to protect herself. I see, sir. No you don't.


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[Assistant] Don't bother. Every time you look in on me, it costs me ten bucks.


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[Assistant] I beg your pardon, sir. Sit down, sit down, man. I want to ask you something.


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[Assistant] As I was going down for the third time, the whole life flashed before me, just like a movie. How was it, sir? Stank. I understand, sir. Oh, you do, huh? Well, no matter. Fisk, I want to ask you something as man to man. If I had droned, would you have missed me?


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[Assistant] Sir, I would. You're lying. No one would miss me. Not even me wife.


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[Assistant] I'm sure Mrs. Bates would be inconsolable, sir. Nah, she wouldn't shed a tear. Well, maybe one or two, just to be polite.


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[Assistant] Bring me one too. Very well, sir. May as well show it before it's all gone. Well, JV, what's on your mind?


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[Assistant] Blonde of brunette. Blonde. Hair of spun gold. Told it, she. Oh, 21 or 22, I'd say. At your age, I'd say... Yeah, I know what you say, but don't say it. I fell in the ocean and she saved me life. So now you're feeling generous, huh? Very. I want to make her life beautiful.


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[Assistant] I know, I know. But this girl, Judy, she still has her life before her.


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[Assistant] At least, I love the joy of making her future a bright one. I think you're on the level this time.


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[Assistant] Of course I am. That's just one thing. She's not under any circumstances to know it comes from me. She thinks she saved a poor man.


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[Assistant] Good, good, I got to be there. I got to see your face when she gets it. You see, I'm a nosy kind of a Santa Claus.


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[Assistant] Yeah, feel that material. You won't get that quality nowadays. No thanks. Pray something will jump out and bite you. Exactly. Now look, you want to be anonymous. If you hang around, she's gonna smell a rat. Nonsense! She thinks I'm a poor man. She wants to get me a job.


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[Assistant] What do you do if she does? Never give it a thought. That's a nasty complication. Well, I'll cross that bridge when I cross it.


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[Assistant] But Judy, wouldn't it be better if you first looked at some nice cloth?


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[Assistant] That girl is here buying fur coats in, in bunches like, like bananas. Well, you wanted to make her happy, didn't you? Sure I wanted to make her happy, but not hysterical. Cars, chauffeurs, your tillers.


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[Assistant] Take it easy, dear, relax. I have. So why can't you? Take what's freely given to you.


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[Assistant] Providence works its wonders in mysterious ways.


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[Assistant] I'm 65 and I'm not harmless. So far as my wife is concerned, I mean.


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[Assistant] I'm sorry this happened. Maybe I could help you to find out who he is.


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[Assistant] I hope to bring a little happiness into your life because you saved mine.


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[Assistant] I like your ideas, I like the way you talk, I like everything about you.


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[Assistant] Well, it took you long enough to get here. Now, shall I tell this young lady who I am?


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[Assistant] Curtis! Hiya, JB. Oh, you know me now? How dare you say you didn't know me?


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[Assistant] I was so mad I never thought of it. Well, I'm glad you're feeling better anyway. Tom, I love that girl Judy dearly. She reminds me of Edith when it was caught in her.


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[Assistant] Well go ahead and see him, Judy. I'd like to hear him yourself. Maybe he's the reason you don't suspect.


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[Assistant] Woah, woah, woah, woah, woah! What in the name of goodness is that?


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[Assistant] Oh, I did. Would you mind playing it my way? How's that? I'll show you. Only this time, don't hit it.


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[Assistant] You haven't heard the best yet. Seen the walls from Judy.


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[Assistant] I want to speak with Mr. Curtis. He's not in yet? Why not? He's not at home either.


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[Assistant] Lord should be tolerant till tooth breaks through the clouds of death.


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[Assistant] But you dear can't do that. You've already told him the truth and he doesn't believe it. Pop, what can I do? Tell him another lie.


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[Assistant] Judy, you saved me twice, when I met you and tonight. I can't repay you, but I have an idea.


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[Assistant] Think back. Have any of the customers been particularly nice to you lately? I can't think of anybody.


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[Assistant] Diving into the wreck. Written by Andrew Yann Rich.


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[Assistant] First I read the book of myths and loaded the camera and checked the edge of the knife blade. I put on the body armor of black rubber and absurd flippers. The grave and awkward mask. I am having to do this. Not like Cousteau with his assiduous team. Aborting the sun-flooded schooner. But here alone. There is a ladder. The ladder is always there.


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[Assistant] My flippers cripple me. I crawl like an insect down the ladder.


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[Assistant] I am blacking out and yet my mask is powerful. It pumps me blood with power. The sea is another story. The sea is not a question of power. I have to learn alone. To turn my body without force in the deep element, and now, it is easy to forget what I came for. Among so many who have always lived here, swaying their crenellitude, fans,


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[Assistant] Between the reef and the sides. You breathe differently down here. I came to explore the wreck. The words are purposes. The words are maps. I came to see the damage that was done. And the treasures that prevail. I stroke the beam of my lamp slowly along the flank of something more permanent than fissure weed. The thing I came for.


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[Assistant] Mike is a cameraman and he works for SFX News. His boss, Mr. Frank, is angry with him. It is the second time this week. Mike walks slowly into the office. He is in big trouble. Close the door, says Mr. Frank. There is a video in his hand. This is bad, thinks Mike. He doesn't like my work. Mr. Frank looks at Mike. Are you a news cameraman? He asks.


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[Assistant] Yeah, of course that mic. Well, this isn't news. He throws the video out the door. It's...


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[Assistant] I have a three year old son. He can do better. Go away and find some news. I want a film that hits me here. Mr. Frank puts his hand on his heart.


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[Assistant] On the evening of the day on which I had seen Miss Scatchard flog her pupil Burns,


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[Assistant] I wandered, as usual, among the forms and tables and laughing groups, without a companion, yet not feeling lonely.


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[Assistant] When I passed the windows I now and then lifted a blind and looked out. It snowed fast.


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[Assistant] If I had lately left a good home and kind parents,


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[Assistant] This would have been the hour when I should most keenly have regretted the separation. That wind would then have saddened my heart. This obscure chaos would have disturbed my peace.


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[Assistant] As it was, I derived from both a strange excitement, and reckless and feverish, I wished the wind to howl more wildly, the gloom to deepen to darkness, and the confusion to rise to clamour. Jumping over forms, and creeping under tables, I made my way to one of the fireplaces. There, kneeling by the high wire-fender, I found Burns, absorbed, silent, abstracted from all rounder by the companionship of a book,


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[Assistant] Do you come a long way from here? I come from a place farther north, quite on the borders of Scotland. Will you ever go back? I hope so, but nobody can be sure of the future. You must wish to leave Lowood. No? Why should I? I was sent to Lowood to get an education.


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[Assistant] If she struck me with that rod, I should get it from her hand. I should break it under her nose. Probably he would do nothing of the sort.


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[Assistant] But if you did, Mr. Brocklehurst would expel you from the school. That would be a great grief to your relations.


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[Assistant] It is far better to endure patiently a smart which nobody feels but yourself, than to commit a hasty action whose evil consequences will extend to all connected with you.


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[Assistant] Besides, the Bible bids us return good for evil.


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[Assistant] But then it seems disgraceful to be flogged, and to be sent to stand in the middle of a room full of people, and you're such a great girl. I'm far younger than you, and I could not bear it. Yet it would be your duty to bear it, if you could not avoid it.


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[Assistant] It is weak and silly to say you cannot bear what it is your fate to be required to bear.


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[Assistant] I could not comprehend this doctrine of endurance, and still less could I understand or sympathise with the forbearance she expressed for her chastiser.


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[Assistant] Still I felt that Helen Burns considered things by a light invisible to my eyes. I suspected she might be right, and I wrong, but I would not ponder the matter deeply. Like Felix, I put it off to a more convenient season. You say you have faults, Helen. What are they? To me you seem very good. Then learn from me not to judge by appearances.


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[Assistant] I am, as Miss Gatchard said, slatternly. I seldom put to never keep things in order.


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[Assistant] I'm careless, I forget rules, I read when I should learn my lessons.


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[Assistant] I have no method, and sometimes I say like you, I cannot bear to be subjected to systematic arrangements.


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[Assistant] This is all very provoking to Miss Scatchard, who is naturally neat, punctual, and particular. And cross, and crawl, I added, but Helen Burns would not admit my addition. She kept silence.


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[Assistant] They returned the next day with the coffin and four men from the workhouse who were to carry it.


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[Assistant] So uhm,


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[Assistant] So uhm, uh,


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[Assistant] So uhm, uh,


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[Assistant] So how did you like it, Oliver? asked Sowerbury later as they walked home. Not very much, sir, Oliver answered truthfully. You'll get used to it, my boy. Oliver wondered how long that would take and remained silent all the way back to the shop, thinking about everything that he had seen and heard.


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[Assistant] I don't drink coffee. Some of my staff says that's like, you know, me drinking coffee would be like pouring gasoline on a fire trying to put it out. But I can't go a morning without a newspaper. And I read both newspapers every day.


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[Assistant] You know, what it means to the community is that by having two newspapers compete so voraciously for the news,


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[Assistant] Uh, present as a scandal something that is really innocuous and innocent. But I think generally the, the,


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[Assistant] Uh, just as that's happening, all of a sudden you have this terrible economy and all the advertisers are having to cut back.


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[Assistant] Rockwinds do shake the darling buds of May.


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[Assistant] I resolved in the depth of my heart that I would be most moderate, most correct.


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[Assistant] And having reflected a few minutes in order to arrange coherently what I had to say, I told her all the story of my sad childhood.


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[Assistant] Exhausted by emotion, my language was more subdued than it generally was when it developed that sad theme. And mindful of Helen's warnings against the indulgence of resentment, I infused into the narrative far less of gall and wormwood than ordinary.


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[Assistant] Thus restrained and simplified, it sounded more credible.


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[Assistant] I felt as I went on that Miss Temple fully believed me.


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[Assistant] For I never forgot the, to me, frightful episode of the Red Room, in detailing which my excitement was sure, in some degree, to break bounds, for nothing could soften in my recollection the spasm of agony which clutched my heart when Mrs. Reed spurned my wild supplication for pardon, and locked me a second time in a dark and haunted chamber.


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[Assistant] If his reply agrees with your statement, you should be publicly cleared from every imputation. To me, Jane, you are clear now. She kissed me, and still keeping me at her side, where I was well contented to stand.


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[Assistant] Her dress, her one or two ornaments, her white forehead, her clustered and shining curls and beaming dark eyes, she proceeded to address Helen Burns. How are you tonight, Helen? Have you coughed much today? Not quite so much, I think, ma'am. And the pain in your chest? It's a little better. Miss Temple got up, took her hand and examined her pulse. Then she returned to her own seat.


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[Assistant] As she resumed it, I heard her sigh low. She was pensive a few minutes. Then rousing herself, she said cheerfully, But you two are my visitors tonight. I must treat you as such. She rang her bell.


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[Assistant] Barbara, she said to the servant who answered it, I have not yet had tea. Bring the tray, and place cups for these two young ladies. And the tray was soon brought. How pretty to my eyes did the china cups and bright teapot look, placed on the little round table near the fire.


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[Assistant] How fragrant was the steam of the beverage, and the scent of the toast, of which, however, I, to my dismay, for I was beginning to be hungry, discerned only a very small portion. Miss Temple discerned it too. Barbara, said she, can you not bring a little more bread and butter? There is not enough for three.


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[Assistant] Barbara went out. She returned soon. Madam, Mrs Harden says she sent up the usual quantity. Mrs Harden, be it observed, was the housekeeper, a woman after Mr Brocklehurst's own heart, made up of equal parts of whalebone and iron.


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[Assistant] Oh, very well, returned Miss Temple. We must make it do, Barbara, I suppose. And as the girl withdrew, she added, smiling, Fortunately, I have it in my power to supply deficiencies for this once.


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[Assistant] Having invited Helen and me to approach the table, and placed before each of us a cup of tea with one delicious but thin morsel of toast, she got up, unlocked a drawer, and taking from it a parcel wrapped in paper, disclosed presently to our eyes a good-sized seed-cake.


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[Assistant] I meant to give each of you some of this to take with you," said she, but as there is so little toast, you must have it now. And she proceeded to cut slices with a generous hand.


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[Assistant] Miss Temple had always something of serenity in her air, of state in her mean, of refined propriety in her language, which precluded deviation into the ardent, the excited, the eager.


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[Assistant] Something which chastened the pleasure of those who looked on her and listened to her by a controlling sense of awe. And such was my feeling now.


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[Assistant] But as to Helen Burns, I was struck with wonder.


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[Assistant] The refreshing meal, the brilliant fire, the presence and kindness of her beloved instructress, or perhaps more than all of these, something in her own unique mind, had roused her powers within her. They woke. They kindled. First they glowed in the bright tint of her cheek, which till this hour I had never seen but pale and bloodless.


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[Assistant] Then they shone in the liquid lustre of her eyes, which had suddenly acquired a beauty more singular than that of Miss Temple's. A beauty neither of fine colour, nor long eyelash, nor penciled brow, but of meaning, of movement, of radiance.


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[Assistant] Then her soul sat on her lips, and language flowed from what source I cannot tell.


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[Assistant] Has a girl of fourteen a heart large enough, vigorous enough to hold the swelling spring of pure, full, fervid eloquence?


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[Assistant] Why don't you loan me half of that, Terry? I'll make it back before you get up.


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[Assistant] I don't want to consider if I'll meet with Code Wind and Rain.


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[Assistant] It was more evidence of the fact he was powerful and he could fix what everything came up.


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[Assistant] I shall have to be getting along now. What shall we do about the bill?


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[Assistant] I bequeath an annuity of one thousand pounds for the duration of her lifetime. To my niece, Miss Elsie Chilling, the sum of five thousand pounds. To my two dear cousins, Robert and Jane Atwood, five hundred pounds each. The residue of my estate, my house, and all the property contained therein, I leave to my beloved wife, Martha.


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[Assistant] Also to my daughter Lena and her husband John Asgar, I bequeath the portrait of myself


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[Assistant] The Queen had many friends in important positions.


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[Assistant] She was able to convince these friends to speak badly about me to the king.


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[Assistant] The king was already angry with me because I had refused to help him control the Blefuscudian people. For many weeks I was not asked to attend the king's meetings and I began to be afraid that the king and my enemies might be planning to hurt me.


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[Assistant] Luckily for me, I still had one friend in the palace. Reldrezal was my loyal friend, and he felt that I had done great things for Lilliput and its people. He wanted to protect me from anything that Skyresh Boglem or my other enemies might do.


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[Assistant] One night, Raildressal came to see me in secret.


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[Assistant] Man Mountain, you must listen to me carefully, he said.


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[Assistant] In the past few weeks, the King has had secret meetings with his officers about what should be done with you. Finally, two days ago.


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[Assistant] The king decided to accuse you of treason. How can this be? I haven't done anything wrong. I cried.


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[Assistant] Many of your enemies have found reasons to be angry with you.


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[Assistant] The king is angry because he wants to control Blefuscu, and you would not help him by capturing all their ships.


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[Assistant] Skyresh Boglem is terribly jealous of you because he worked his whole life to capture the Blefuscudians' ships for the king, but he always failed. Then you came and did it in one day.


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[Assistant] Finally, Flimnap, who controls Lilliput's money, feels that it is too expensive to keep feeding you. I wanted to defend myself.


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[Assistant] As long as I have been on Lilliput, I have only done what the king ordered me to do.


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[Assistant] I know I did not help the king capture Blefuscu.


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[Assistant] But that is because I think that it would be wrong for me to kill people. It seems to me that the king liked me as long as I did what he wanted. But when I did not agree with him, he decided I was a traitor and believed all the lies my enemies told him.


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[Assistant] I know that my food and drink are expensive, but it was the king who decided to imprison me here in the first place.


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[Assistant] So Flimnap, the treasurer, should be angry with him.


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[Assistant] Now, please tell me clearly, what sort of crimes am I accused of?


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[Assistant] Man Mountain, you do not have to defend yourself to me. I agree that you have done nothing wrong, Regressal said calmly. Now, I have a list of the accusations here. I will read them to you, said Regressal. Then he began to read.


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[Assistant] Accusation 1. The law of Liliput is that no one may urinate near the palace, and those that do will be guilty of treason. The man-mountain urinated on the palace on purpose, even though he knew this was wrong. Accusation 2.


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[Assistant] After capturing many of the Blefuscudian ships, the Man Mountain would not follow the orders of the great and wonderful King of Liliput.


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[Assistant] The Man Mountain treated the officers of Blefuscu very kindly, even though the people of Blefuscu were our enemies at that time.


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[Assistant] If the man mountain is truly loyal to Liliput, he would not treat Blefuscudians with kindness, as they are terrible people who break their eggs on the big end.


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[Assistant] Accusation 4. The Man Mountain plans to visit Blefusku and has not received a written letter of permission from our King.


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[Assistant] No true and loyal friend of our king would do any of these terrible things that the man mountain has done. I was angrier than ever now.


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[Assistant] These accusations are ridiculous, I said.


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[Assistant] First of all, the king decided to forgive me when I urinated on the palace.


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[Assistant] I saved his queen's life when I did that. Why is he changing his mind now? Don't you understand, Man Mountain? The king and your enemies want you to be guilty.


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[Assistant] So they have to invent things, said Regressor.


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[Assistant] The king's accusations were very unfair, and also silly. I knew that Redrisal agreed with me.


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[Assistant] But it seemed that there was no way we could change the king's mind. So what will the king do with me? What is the punishment for these crimes? I asked.


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[Assistant] Redrisal looked very serious. Man Mountain, the usual punishment for these crimes is death, he said.


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[Assistant] He is still angry with you, but he knows that you have also helped our country.


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[Assistant] However, Skyresh Boglem wants you to die.


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[Assistant] He suggested that your house be set on fire with you inside it.


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[Assistant] Twenty thousand soldiers should wait outside with poisoned arrows to shoot in case you try to escape the house, said Regressal. However, the king did not agree with this plan.


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[Assistant] Well, it's good that the king doesn't want to kill me, at least. I knew he would remember my good service to him someday, I said.


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[Assistant] Redressal sighed. I'm afraid that is not true my friend, he said. Instead of killing you, the king suggests that your eyes should be poked out as a punishment.


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[Assistant] Then he can still put your strong body to work. Poke my eyes out? I shouted, shocked and angry. How could anyone be so cruel?


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[Assistant] Yes, it is a cruel idea. But Flimnap did not think this was a good idea. He said if your eyes were poked out,


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[Assistant] The people would still have to feed you every day. If you were working hard for the country, you might eat even more.


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[Assistant] And Flimlap doesn't want to spend the money to feed you, Redrasal explained. So what did the king finally decide, I asked?


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[Assistant] The king has finally decided that first your eyes will be poked out. Then your food will be reduced every day until you are too weak to fight back. Then you will be poisoned.


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[Assistant] Once you die, he plans to have 10,000 men cut up your body and throw all the pieces into the sea.


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[Assistant] However, they will leave your bones on the land so that all the people of Liliput will know the power of our great king.


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[Assistant] Yes, said Regizal, your trial is in three days, but since the king is also going to be the judge, you will certainly be found guilty.


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[Assistant] I thought about everything I had heard, then thanked Reldrezal and told him to go back to the palace. There was no way I would let the selfish king and his friends hurt me. I've got to leave Lilyput at once, I said quietly to myself.


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[Assistant] By nine o'clock that morning, I was sitting up on that same hill next to the old ruined building, looking over the land as I had on my first day of arrival. Everything looked the same as before. It was a beautifully green world.


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[Assistant] But my knowledge of this place was now greater, so this time I was not so easily fooled by the beauty around me. I saw things as they truly were. The Eloi were nothing more than animals.


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[Assistant] Fed and cared for by the same people who would later kill them for food.


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[Assistant] I noticed that some people were bathing in the same part of the river where I had helped Weena.


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[Assistant] Tears came to my eyes, and I thought to myself, my poor girl, what a horrible death she had suffered.


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[Assistant] However, it helped a little to think that maybe it had been less horrible than the one the Eloi usually suffered at the hands of the Morlocks.


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[Assistant] I knew that nature made it necessary for people and most animals to eat meat.


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[Assistant] I myself love a good steak as much as the next person.


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[Assistant] But I could not accept the Morlocks making meals of the Eloi.


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[Assistant] I decided to make one last effort to save these people, or rather I decided to make one last effort to get these people to save themselves.


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[Assistant] Walking back down to the village, desperately tired, but determined, I gathered all of the people that I met on my way. They all happily followed me, laughing and playing with one another the whole way.


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[Assistant] I tried to pull everyone together in the center of town for a meeting.


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[Assistant] To do this, it was necessary to make them all sit down, for if left standing, they would forget what they were doing and start to wander off.


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[Assistant] After about an hour, I managed to collect almost everyone.


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[Assistant] They all seemed confused, thinking it must be time to eat or sleep.


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[Assistant] My next task was to get their full attention.


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[Assistant] I started to sing an old English children's song.


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[Assistant] A silence then immediately fell over the crowd, and they all turned their heads to look at me.


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[Assistant] Still singing, but with much greater confidence now, I then untied Weena's gown from around my waist and held it high in the air. They did not seem to understand.


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[Assistant] Noticing that the blood stains were hidden from them, I turned the gown around so that the front faced them. Still, they could not get what had happened. I placed the gown against my own body to show them where the blood would have come from.


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[Assistant] I imitated the movements and sounds of the Morlocks.


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[Assistant] I did everything I could think of to communicate the horrible news to them, but they only seemed to find my behavior amusing.


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[Assistant] Many started to laugh while others began to imitate me. I became more and more desperate and ran into the crowd.


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[Assistant] Pushing the bloodied gown close to their faces. This only drew more laughter from them.


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[Assistant] However, soon the people lost interest.


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[Assistant] Seeing them begin to wander away, I started to sing louder, but this failed to get their attention. I then grabbed the person nearest me and wrapped my arm around his neck as if to choke him.


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[Assistant] And tighten my grip around the poor Eloy's neck in order to convince them of my seriousness.


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[Assistant] This finally got their attention, and silence once again overcame the crowd, for I was no longer singing.


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[Assistant] They looked at me, confused, trying to understand what was happening.


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[Assistant] I of course had no intention of hurting this little man.


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[Assistant] I only wanted to see if these people would help each other.


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[Assistant] I did not have much hope in this for I remembered how Weena was left to drown in the river after accidentally falling in. But this was a slightly different situation. This was one of their people being attacked.


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[Assistant] Unfortunately, my behavior did not have the effect I had hoped it might.


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[Assistant] I noticed one woman toward the center of the crowd, slowly coming toward me.


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[Assistant] I shook the little man in my arms to remind the people of the danger he was in. This did not stop the woman's approach


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[Assistant] And saw that Weena's gown was hanging from my arm.


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[Assistant] against this man's body and the area covering his stomach


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[Assistant] Was also the area covered in Weena's blood.


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[Assistant] I looked back at the woman standing before us.


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[Assistant] Her eyes had changed, looking now more frightened than confused.


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[Assistant] And suddenly from her mouth came a high scream that immediately woke everyone else from their confusion, including the little man in my arms. Now everyone began to scream.


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[Assistant] And run in the direction of the great dining hall.


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[Assistant] I let go of my prisoner and he followed them as well.


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[Assistant] Soon I was standing alone in the center of the village. It truly was hopeless.


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[Assistant] I had hoped to teach them to fight, to resist the Morlocks, but it seemed that things were as nature had designed them to be, once and for all.


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[Assistant] With only myself as the single intelligent being in this world, there was very little that could be done to bring any change.


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[Assistant] With two days of sleeplessness behind me, I desperately needed rest.


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[Assistant] I knew that I was not welcome in any of the buildings, so I decided to find a comfortable place near the river.


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[Assistant] Once there, I laid my jacket out on the ground and fell asleep as soon as my head felt the soft grass underneath.


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[Assistant] I awoke just before a sunset, feeling very fresh and rested.


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[Assistant] I felt very capable of taking on the Morlocks by myself if I had to. Putting my jacket back on


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[Assistant] I noticed something fall to the ground from my pockets. They were matches!


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[Assistant] I quickly picked them up, now even more encouraged, and started to make my way toward the Birdman statue.


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[Assistant] To my surprise, I found the walls of the base slightly open in one part.


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[Assistant] I laughed out loud at this, for up until then I had planned to fight it out to the end. But now I had nothing more to do than simply walk through.


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[Assistant] In a dark corner of the space inside the statue, I saw my time machine.


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[Assistant] At once, I knew what the Morlocks had planned for me. I smiled, and feeling the levers in my pocket, began to approach the machine. After only a few steps, the wall suddenly closed loudly behind me.


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[Assistant] I laughed at how smart the Morlocks must have thought they were. They believed I was trapped.


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[Assistant] Then I could hear the sound of their disgusting little voices coming toward me in the darkness.


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[Assistant] And jumped inside with the levers in both my hands.


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[Assistant] The Morlocks were trying to take the levers from me. I managed to attach one of them properly.


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[Assistant] But the other fell from my hands and immediately there was a struggle between myself and the monsters to get hold of it.


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[Assistant] I kicked at them and struck them with the front of my head.


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[Assistant] I felt a couple of bites sink into my arms, but soon I had the lever and within seconds it was attached.


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[Assistant] Kicking the last of the Morlocks from the machine, I started it up and pulled back the lever.


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[Assistant] Before me, the darkness quickly fell away, and I found myself, once again, traveling through time.


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[Assistant] I resolved to tell my guardian that I doubted Orlix being the right sort of man to fill a post of trust at Miss Havisham's.


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[Assistant] Said my guardian, comfortably satisfied beforehand on the general head,


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[Assistant] Because the man who fills the post of trust never is the right sort of man.


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[Assistant] And even hint that our friend himself might be difficult to deal with. Oh, no he won't.


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[Assistant] Said my guardian, making his pocket-handkerchief point, with perfect confidence, I should like to see him argue the question with me.


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[Assistant] As we were going back to London together by the midday coach, and as I breakfasted under such terrors of Pumblechook, that I could scarcely hold my cup.


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[Assistant] This gave me an opportunity of saying that I wanted to walk, and that I would go on along the London Road, while Mr. Jaggers was occupied.


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[Assistant] If you would let the coachman know that I would get into my place when overtaken.


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[Assistant] I was thus enabled to fly from the Blue Bore immediately after breakfast. By then.


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[Assistant] Making a loop of about a couple of miles into the open country at the back of Pumblechook's premises, I got round into the high street again, a little beyond that pitfall, and felt myself in comparative security. It was interesting to be in the quiet old town once more.


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[Assistant] One or two of the tradespeople even darted out of their shops.


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[Assistant] And went a little way down the street before me that they might turn as if they had forgotten something and passed me face to face.


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[Assistant] On which occasions, I don't know whether they or I made the worst pretence. They of not doing it, or I of not seeing it.


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[Assistant] Passing my eyes along the street at a certain point of my progress, I beheld Trab's boy approaching, lashing himself with an empty blue bag.


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[Assistant] Deeming that a serene and unconscious contemplation of him would best be seen me, and would be most likely to quell his evil mind, I advanced with that expression of countenance, and was rather congratulating myself on my success.


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[Assistant] When suddenly the knees of Trab's boy smote together, his hair up rose, his cap fell off, he trembled violently in every limb, staggered out into the road, and crying to the populous


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[Assistant] When to my inexpressible terror, amazement, and indignation, I again beheld Trav's boy approaching. He was coming around a narrow corner. His blue bag was slung over his shoulder.


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[Assistant] Honest industry beamed in his eyes. A determination to proceed to traps with cheerful briskness was indicated in his gait.


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[Assistant] With a shock, he became aware of me, and was severely visited as before.


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[Assistant] But this time his motion was rotatory, and he staggered round and round me with knees more afflicted and with uplifted hands as if beseeching for mercy. His sufferings were hailed at the greatest joy by a knot of spectators, and I felt utterly confounded.


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[Assistant] I had not got as much further down the street as the post office.


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[Assistant] When I again beheld Trab's boy, shooting round by a back way.


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[Assistant] This time he was entirely changed. He wore the blue bag, in the manner of my great coat, and was strutting along the pavement towards me on the opposite side of the street, attended by a company of delighted young friends, to whom he from time to time exclaimed, with a wave of his hand,


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[Assistant] Words cannot state the amount of aggravation and injury wreaked upon me by Trab's boy, when, passing abreast of me, he pulled up his shirt collar, twined his side hair, sucked an arm akimbo, and smirked extravagantly by, wriggling his elbows and body, and drawling to his attendants, Don't know you.


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[Assistant] The disgrace had tended on his immediately afterwards taking to crowing, and pursuing me across the bridge with crows, as if from an exceedingly dejected fowl who had known me when I was a blacksmith, culminated the disgrace with which I left the town, and was, so to speak, ejected by it into the open country.


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[Assistant] But unless I had taken the life of Trab's boy on that occasion, I really do not even now see what I could have done save endure.


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[Assistant] When chased into a corner, flew out again between his captor's legs, scornfully yelping.


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[Assistant] I wrote, however, to Mr. Trabb by Next Day's Post, to say that Mr. Pip must decline to deal further with one who could so far forget what he owed to the best interests of society, as to employ a boy who excited loathing in every respectable mind.


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[Assistant] The coach, with Mr. Jaggers inside, came up in due time, and I took my box seat again, and arrived in London safe. But not sound, for my heart was gone.