OK, before I get started, Page Six Grade, championship game versus Ennsworth, Saturday, 9.30. So my son Bryce is going to go against Coach William's son there at Ennsworth.  So looking forward to it. When do we have availability with Bryce? I don't know. He says his mom doesn't really allow him to talk too much. So you'll have to go through her. 9.30 AM, it's an early one. He's had some games at 8 AM too, which has been interesting to get him up. So yeah, this is from my mom who passed away over 20 years ago with pancreatic cancer. So it's just good that we can remember her and all the other people that have fought through cancer. So I just texted my sister and my brother, told him I got him a shirt so we can reminisce. Yeah, it's been over 20 years. She passed away 10 days after 9.11. So that was obviously a big thing. So thank you. I guess lost Kierce, I guess, on Friday and Mason slides into public role. What was that transition like? And how do you think Mason did? Good. It's the guy that's been back there. He played against the Rams last year.  And it was really good to see him on the first punt. It wasn't a great punt. He did a great job of getting in front of it, squaring up to it, catching it off the bounce, and getting positive yards. So we'll continue to work with him. Hopefully we can, as we said earlier, we want to catch the ball, get a first-first down. But now we've got to be a little bit more selfish and try to get a little bit more. But obviously protecting the football. So that's one of the things we'll continue to work on today. You mentioned about helping, though, like helping adding to. Do you see that just through three weeks of just how important that's going to be to pick up an extra 10 or 15 whenever you can? Oh, sure. I mean, that's going to be huge for our team. And our players understand that. I think our guys on the outside are doing a tremendous job with Kendall and Trey Avery. Those guys are doing a great job, whether we single or double press them on the outside. When Nick Westbrook comes out there, they're doing a really good job. So our guys are really locked into that unit. And we've got to continue to make that a strength for us. The kickoff is just kind of one of their options, like you guys have there with Julia Centiere and stuff. Yeah. That was interesting. Tajah, I thought, did a really good job for a guy with the Browns, with Hopkins. And that ball was up there four or five. I think we had one of them that was almost four or six. But I thought he did a really good job catching the ball, getting upfield. We just missed one block. And then I know we'd like to have back. And otherwise, I thought Tajah had a good read on it. We're going to continue to mix it up, whether it's Tajah back there, someone else, Chris Moore, any other guys that we want to feel that can go back there and return it, whether it's getting touchbacks for catches or returning the ball. But we'll have to see how it plays out each and every week. Your unit probably was heard more than any other with the losses of chestnut and brown. Can you talk about what they brought to the team? Yeah, obviously four core special teams players that do a really good job. And then to add on to it, we lost Luke a little bit at the end.  And that's the great part about our football team. Guys are willing to step up. They might not even got a rep for Luke's spot or Julia's spot, because those are very limited during practice on how many reps that we actually get. But I was really proud of our guys stepping up, understanding the role that Julius has and some other guys that are four core players and them wanting to be a part of our special teams and commit to it and do whatever is needed to win. Thanks. Yeah, positive, looking forward to Sunday. Look forward to coming to work, getting better. I was working together as a whole and then making it all come together in addition to the details, the concept of the play and then let it transition out here and then let it go into Sunday. One of the coaches who's staying earlier this week, there's been a real emphasis on details for everything. What does that mean, like maybe for you or for the running backs, you know, focusing on details? Yeah, a coach has been preaching it all week, just understanding what you're doing, understanding the details of the play, what we're trying to get done to make the play successful when it takes all 11. Whatever guy got to be locked in on your job specifically on each play. What do you see, Derek, is, I guess how important to have success in the running game, you think, on Sunday and maybe what stands out about the Bengals as you try to do that? Takes all 11. Everybody focused, having the will to get off the line and scrimmage, create space, finish and runs. Guys going there and digging out safeties and DBs. No, they love to blitz the nickel. They've had success against us in these past couple of games and we just got to be better focused, play better, get into drives and everybody do their job the way they're supposed to. Is there an example of one of those details that you're really honing in on to help you do exactly what you just said against the Bengals? I mean, just whatever play is called, just knowing my job and trying to execute it the best way I can and being focused in the meetings to know the whole concept, all of us, and then doing it out here and then going out there on Sunday putting the plays together so we can have success. What about the stuff that's in the playbook, Derek? How much of that are we seeing from like creativity standpoint? Is that it again? How much of the playbook in the running game are we seeing so far and what sort of creativity or new stuff comes in week by week? You gotta ask Tim that. I mean, I don't really know what you're trying to ask but we just try to go out there and do it and try to go out there and make success out of what's called and just do our job. Derek, you haven't been shut down or had as few opportunities in a game in a long time like on Sunday. Does that make you kind of chop at the bit this week or are you a little extra motivated to get out there on Sunday? I'm always motivated to play the next game. Last weekend, it was rough. I didn't have much success. So obviously, at the end of the day, I'm always gonna be locked in. I always need to focus on my job and what I gotta do and try to go out there and play my best. But last weekend, add a little bit more fuel, definitely. Individuals versus leading in a group, just after a loss like that, do you talk to a whole team? Do you talk to individual teammates? Do you kind of leave people alone? Just what's your approach after a loss like that? Yeah, I mean, leaders, definitely. We all want to step up, all want to be vocal. I want to go out there and work and let our work show and do whatever we can to get everybody going. That's the title of being the leader. And I think guys are trying to do that the best way they can and get guys going and give you guys confidence.  Derek, what do you feel like it has been the past three times you've met with individuals that maybe they have your number you guys aren't able to kind of get over the hump in that situation? They've just been a better team. The last couple of times we played them and credit goes to them. The game plan they put in, they've worked and we didn't execute enough to be able to have success against those guys to be able to win. So they have had great game plans against us. You know, the credit goes to them. But hopefully we come out here and get better every day and let it transition to Sunday. I mean, I know they didn't get off to a great start but that's still a great team. It's going to be a tough matchup. Is it new year? Do you guys feel like you owe them one maybe after the last few years? Not really. All in one. I think we treat it as the next game. Don't get too caught up in emotions. Things like that happen. But at the end of the day, we've got to line up and play on Sunday. So they're a great team. They're coming off a win. We're looking for one. Trying not to get tied up in emotions and this is a fresh season. But at this point, there's been a lot more losses than the wins. How frustrating does that get? Do you have to deal with that or try to ignore that? We're just three games in. Lost 2-1-1. We still got time to get back on track as early as this season. We definitely don't want to go out there and lose but sometimes the virtually strikes earlier than other times. So just staying focused on what we want to do and how we want to play as a team and take it week by week to try to go out there and get a win. But at the end of the day, it starts out here and let it transition to Sunday. How much do you think see Julius go down and maybe what have you said to him to kind of lift his spirits? Yeah, you know, I'm tough, tough with Julius. You know, he was in good spirits even after, you know. Anytime I see him in here when he's in the building, I'll just talk to him and try to lift his spirits. But I have no doubt he'll be back once he goes through what he goes through and works through it. Be back, be the same player, the same effort he gives on when that time comes. Scoring was the biggest issue with last year's team and you guys are down this year and went two games without scoring a touchdown. How confident are you that this offense is going to take you to places where you can be more like what you were going to charge for? Still confident. Like I told her, we just had a tough one, a little adversity. But at the end of the day, you just got to trust and believe and your training and what we do and eventually it'll pop off for us. That last weekend was a tough one, but never let it waver your confidence and how we want to be at the offense. Yeah, you know, I don't think that part of it's tough. I mean, it's tough to watch because no one's proud of what it looked like or what the end result was. But it does provide us an opportunity to be able to go and say, hey, when we're not as detailed as we need to be, when we don't do the things that we want to and execute the keys the way that we need to, you can go out there and put out a performance like that. So, you know, unfortunately for us, we have to be able to learn from that and move on quickly because again, we got another good opponent coming in here in a couple of days. When it comes to the time, you mentioned details and that seems to be a big emphasis this week. What are some details, you know, in particular maybe that you want to see the line? Yeah, different, you know, making sure we understand who we're working with, making sure we understand the different, the different, you know, checks, plays, looks that may be triggering based upon what we're seeing. And then understanding when we have help. And then, you know, there's going to be times where we got to go out there and one-on-one and one-match up and understand when that's going to happen and what techniques we need to do, when techniques we need to use in order to get that done. How do you get them in the line between help, no help when you're going against a dominant guy like Garrett or a guy who's having success like Hendrick? Yeah, yeah, obviously, you know, seems like every week when you're playing these teams, there's a guy who's making a lot of money, you know, rushing the passer on the edge. So we are very aware and there's going to be times where we need to pick our spots, where we think either the ball is going to get out based upon the different situation where we're out in the field, so on and so forth. But yeah, there is a fine line there to make sure that we aren't getting enough help to those guys on the edge and to make sure that we're giving our guys a chance to be successful. As you were saying to him during that game sort of changed how you looked at that game plan based on? Yeah, I think you kind of get a feel for it as you're going through, like, hey, we're holding up. Hey, you know, we may need a little bit more help. So yeah, that's kind of a fluid thing, but we definitely went into the game plan, you know, with different ways to try and get help to different people. Is it the way you all wanted a team was winning like that up front? How much does that limit what you're able to do? Yeah, you know, it definitely limits what's going on. You know, the more limiting factor ends up being in second and 12 and being in third and long. Again, hopefully it's the last time I have to say that, but if we're living in that world, it's going to be hard. I don't care who you have walking up front, like, that's hard. Those guys are pinning their ears back. They don't have to worry about any type of run game in that situation. And they're able to go rush the passer, which is what they get paid to do and work all day on it. So we got to do a better job staying out of those situations. So the same guys are giving you problems to get games on first down. How do you solve the first damage? Yeah, I can help them out with better play calls. And we got to do a better job of executing. What goes into the decision of let's give this guy some help and keep him out there, or let's try to figure a different way to help him versus making a lineup change like you do when you put Dylan in? Yeah, yeah, I think there's a lot. Bless you. I think there's a lot of things that go into it, right? Ultimately, that group, it's all about the sum of the five. So how do we get our best five on the field? And then how do we get those five to play at a higher level than what they played last week? Tim, what about the running game in regards to getting that going? Yeah. Is it a creativity thing? Is it a winning one thing? What all goes into that being better this week? Yeah, it's probably a combination of everything. Leaning into more of what we're more efficient at. Limiting some of the moving parts, whatever it may be. I think it's a combination of whether it's being more creative, being less creative, kind of finding that sweet spot, and then, again, just making sure that we're putting our guys in a good spot, and they feel confident in what we're asking them to do. When it comes to the tight end and the run block situations, what would you like to see more out of them? Yeah, just continue to be consistent. I think that's what it is across the board, right? You go back and you look at some of those plays from the other day, and there's a couple where it's like, OK, that play was blocked pretty well. And then the very next play, it's like, holy, like, that was not blocked very well. So we just got to do a better job across the board, just with the consistency of being able to go out there and execute. When you're juggling up front, how do you ensure that a guy like Derek still gets his touches? Yeah, just got to continue to, again, figure out what is best for us schematically in terms of the different run games and the different run schemes, and then continuing to have trust in those guys up front. Because obviously, you know, just got to get Derek started. And then we've all seen the highlights of him being able to make huge plays. So it's a combination of kind of both of those things, is continuing to have trust in Derek and then making sure, again, that we're executing a little bit more consistently. Have any explosive plays? Did you guys, when you watch the film, maybe leave on the field because of a miss block here? Yeah, that was a long time ago, to be honest with you. Like, we aren't where it passed that. I don't know that off the top of my head. There's always a few, though. Tim, with the offensive line, what are the little things you've seen them do, or maybe what they've done in spurts that give you confidence that the product can be done?  First and second down, did a really good job. There are multiple times where Ryan was back there with plenty of time to function and be able to take some of those shots. It's, again, like, you see spurts of it. We just need to do them more consistently. When he catches 10 yards, just what needs to be done to kind of unlock that skill a little bit more? Yeah, and get in situations where we can get him out and get him in the ball. Are you able to kind of still sit in meetings? I don't know when he's coming back, but, of course, Grotsky, is he able to sit through meetings where he'll hit the ground running when his health allows it? Yeah, yeah, it was good to get him back in the building and see him back in here. Obviously, Pete, he's intelligent. He's diligent, so I'm not too concerned with that. Kind of trailing Berks, the full trailing Berks right now, or I know he missed the time in camp, and seems to be maybe still dealing with the injury. Is that holding him back at all? There are definitely times where when he's out there and you feel him running and you feel the speed and you're feeling him being able to get behind two pretty good corners that we played last week, I know he drew, drawed, whatever the word is. The DPI there on our sideline had a couple of other opportunities. So we're definitely seeing flashes of what we feel like he can be. Tim, what goes into your own self-evaluation of what you've done in regards to play calling the first three weeks? Yeah, always evaluating it. Don't sleep a whole lot, especially after a game like that, because you're always constantly, what could I have done better? What could I have done differently? So good or bad, I think you're always in the mode of being able to go and evaluate what you're asking your players to do. So yeah, again, like we talked about, just got to find a way to get them into a rhythm quicker. Andre, I guess in particular, it's like the numbers and kind of the eye test would seem he's kind of struggling against the pass. But are you seeing signs that he's learning as he's going along that he's making some improvement? Sure, yeah. Like I said, you go and you watch the tape and there's times where he's singing up on arguably one of the best pass roasters in the NFL, and he's blocking him. He's doing a good job. So it's just, again, finding that, OK, look, here's the techniques that we're teaching, that you're using. And when we do it consistently, you're pretty effective. In terms of athleticism and his ability to be able to match and mirror on the edge, it's up there. So just being able to continue to trust the techniques and trust in his ability to be able to go out there and execute. Because when he does, it looks pretty good. Good? Thank you guys. Yeah, so these are two extremely special women to me. My mom, my mother-in-law, both are battling, fighting, breast cancer. Extremely tough individuals would never know they're dealing with what they're dealing with. Really proud of them and the way they carry themselves, the way they battle. But yeah, good to represent them, show encouragement for them, and then also bring awareness to a nasty disease.  Does that make him more dangerous, or do you prepare for a fully healthy Joe Burrow? Yeah, it's unique.  In the past, he's always been a threat to take a scramble lane when it's there, to extend plays, to make plays down the field late in the down.  We've got to be able to rush and affect them just the same. And we'll kind of see as he progresses here. I mean, he said to himself, he felt like he's getting stronger week by week. So we'll kind of see where he's at here this week. But we've got to be ready to cover and rush, just like any other quarterback. How much do you take from what they've done against you the last couple of times? Yeah, I think you go back and look. You always do kind of see what shows up, how they're trying to attack us, different things. There's things that kind of show throughout the different games we played against them. And then there's always going to be some new things, some wrinkles that show up. Again, last year, Chase didn't play against us, right? So that was a little bit different, where he's going to be out there here Sunday, obviously.  I mean, it's a lot of attention Chase does, obviously. But how tough is T. Higgins and how difficult a match up is he? Yeah, I think this is probably the most dynamic skill group we've faced so far between Chase, Higgins, Boyd, Mixon, right? They're all pretty dynamic players when they get the ball in their hands.  Like I talked about a few weeks ago, we got to know who we're going against. Chase is different than Higgins. Higgins is different than Boyd. Boyd is different than Chase. They're all different types of receivers who really play at a high level. So we've got to make sure we understand who we're on, who we're covering, what their skill set is, and what they're going to try to do. What do you think is just the size?   And we're going to have to be competitive down the field on him. We are. He does a good job timing it up, going up high point in the football. And then when he does catch it on the underneath stuff, we can't let him build speed and get going. When you go into a game, do you have kind of a scouting report about the officiating crew and how they're known to call games so you can instruct your corners specifically about how physical they're allowed to play? Yeah, something, braves and stretch, go through every week with us. We meet about it. We talk about it. We bring it to note with the players. But I mean, early in the year, it's hard.  But it is something we address. Did you explain to them what happened against the passing game so far? How many of them have been, yeah, like Amore making a great play on the sideline the other day? And how many have been things where you're in the film and saying, we have to correct this? Yeah, I would say probably if I had to put a percent, I would say 50-50. I mean, I don't think there's been a lot of bust, so to speak. I mean, there's been a couple. Don't get me wrong, there's been a couple of busts. But I think some of those, we've been beat one on one at times down the field. And then other times, we're close enough and they make a play, which that's the definition of 50-50. But we got to make sure it's more 50-50 than what it's been right now. So with the pass, no one there going to make some plays here. What do you have to do to make it so they're not thrown for 300 yards? I think our guys, we got to make sure we're playing with better technique and fundamentals. I think that's where we're not where we need to be right now. Like whether we're in man, whether we're in zone, whether we're in a match coverage, like we got to understand what coverage we're playing. And each coverage has a specific technique, depending on where you're aligned, where you're at. And then the fundamentals really carry on throughout, whether you end up in man or zone, understanding what's going on and what it takes to execute the coverage. And I think some of these one-on-one situations, our technique hasn't been the best. I think we got to be better with our eyes. We got to be better with our leverage. We got to be able to be better at the line of scrimmage and not let these free releases. So there's a lot of technique stuff that's showing up that we're working on and it's got to improve. Does Sean need to calibrate better with how the game's being called with his physicality? Yeah, I mean, I think the first third down, I get it. I can kind of see why they called that one. The second one, I think it's some crews call it. Some crews don't. I thought it was pretty square on the second one there, later in the game. Again, if we're challenging and we're aggressive and they're not dumb penalties, you kind of have to live with it at some point. You've got to be able to play the game how it's being called. And again, every receiver is going to be taught make sure you're pushing off, because they're not calling it. So in order to be close, you've got to be able to challenge and play aggressive and be physical with these guys, especially on these stick routes on third, fourth down. It's the down the field stuff, the grab in the guy get behind you, not locating the ball. All that type of stuff is the stuff that we got to make sure we eliminate. And at times, if we get called on being too aggressive at the sticks, so be it. We got to line up and play again. Is Christian's confidence taking him kind of a hit? In terms of what do you have to do to try to get him back to play in the way it was in camp and preseason? Yeah, I think just being out here, right? I think he's got to practice. He was dealing with some stuff early on. The practice, the speed of practice, line it up and go in. And like I talked about earlier, just the technique and fundamentals. Play in and play out. We've got to assume every single guy on the field has to assume they're going to get the ball thrown on them every single play. Like that's how we got to play.  We got to be locked in, because the moment you do, they find it, right? So I have no question about his confidence level. I know he was a whatever, busted coverage of whatever you want to call it. And then he had the DPI on the third down, or on the GBOT, which I thought he was in good shape. I really do. I thought he was in good shape. And then late, it just kind of got away from him down the field. But he was in pretty good position on that one, the one they called on Coop. So and then the other one, I think, with Coop, I mean, they're competing, right?  He's competing. He's battling much like I talked about earlier. They're going to win some. We're going to win some. Hopefully, we will win more than we lose. Shane, that technique you're talking about within different coverage, is that related to all to anything you guys on your end of change this year? Is it just players need to be more mindful of stuff they should do? Yeah, a little bit. Like we're doing some different things coverage-wise. Obviously, with Chris coming and some of the stuff he's done in the past, we're doing some different things. He's got a different way of doing things than maybe we've had in the past year, just with specific techniques, right? And I think a lot of that stuff we talked to our guys about, like, we're going to have stuff we believe in as coaches, but at the same time, if there's things that, I mean, that's part of being a pro. There's things that you've done differently that you feel more comfortable doing. Like, we're all for it, like, but we got to go do it, right? So I think in a lot of the stuff, there's a lot of similarities, the eyes, the vision, the footwork, right, playing square. All that stuff carries through on a lot of this stuff that we just got to make sure that we're getting play in and play out. What are your thoughts on this season? Is this where you kind of expect Harold to be at this point? And maybe what would you like to see from him? Yeah, I think he's still working his way back, right? Getting back out there, live action, rolling. I think the thing with him, he just got to continue to press the envelope in practice, continue to press the envelope out there. And when he's going, he's got to go. You know, he's got to go. And again, he's coming back. And it's live bullets now, where in practice, it's one thing. But there's live bullets. There's bodies flying around.  And we just got to go play. Like, you got to go play, cut it loose and play, and he'll get there. Thanks. Yep. Thanks a lot.


Act I of The Tragedy of Romeo and Juliet by William Shakespeare. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information and to find out how you can volunteer, please visit LibriVox.org, recording by Sam Stinson. The Prologue. Enter Chorus. Chorus. Two households, both alike in dignity, and Fair Verona where we lay our scene. From ancient grudge break to new mutiny, where civil blood makes civil hands unclean.  The fearful passage of their death marked love and the continuance of their parents' rage, which but their children's end not could remove, is now the two hours' traffic of our stage, the which, if you with patient ears attend, what here shall miss our toils shall have strive to mend. Exit. Act I. Scene I. Verona. A public place. Enter Samson and Gregory with swords and bucklers of the House of Capulet. Samson. Gregory on my word will not carry coals. Gregory. No, for then we should be colliers. Samson. I mean, and we be in collar will draw. Gregory. I, while you live, draw your neck out of a collar. Samson. I strike quickly being moved. Gregory. But thou art not quickly moved to strike. Samson. A dog of the House of Montahue moves me. Gregory. To move is to stir, and to be valiant is to stand. Therefore, if thou art moved, thou runnest away. Samson. A dog of that house shall move me to stand. I will take the wall of any man or maid of Montahue's. Gregory. That shows thee a weak slave, for the weakest goes to the wall. Samson. Tis true. And therefore women being the weaker vessels are ever thrust to the wall. Therefore I will push Montahue's men from the wall and thrust his maids to the wall. Gregory. The quarrel is between our masters and us their men. Samson. Tis all one. I will show myself a tyrant when I have fought with the men. I will be cruel with the maids.  Gregory. The heads of the maids. Samson. I, the heads of the maids, or their maiden heads, take it in what sense thou wilt. Gregory. They must take it in the sense that feel it. Samson. Me they shall feel while I am able to stand, and tis known I am a pretty piece of flesh. Gregory. Tis well thou art not fish. If thou hathst, thou hathst been poor John. Draw thy tool. Here comes two of the House of Montahue's. Enter two other serving men, Abram and Balthazar. Samson. My naked weapon is out. Quarrel! I will back thee. Gregory. How? Turn thy back and run? Samson. Fear me not. Gregory. No, Mary. I fear thee. Samson. Let us take the law of our sides. Let them begin. Gregory. I will frown as I pass by, and let them take it as they list. Samson. Nay, as they dare, I will bite my thumb at them, which is disgraced to them, if they bear it. Abram. Do you bite your thumb at us, sir? Samson. I do bite my thumb, sir. Abram. Do you bite your thumb at us, sir? Samson. Aside to Gregory. Is the law of our side if I say I? Gregory. Aside to Samson. No. Samson. No, sir. I do not bite my thumb at you, sir. But I bite my thumb, sir. Gregory. Do you quarrel, sir? Abram. Quarrel, sir. No, sir. Samson. But if you do, sir, and for you, I serve as good a man as you. Abram. No better. Samson. Well, sir. Enter Benbolio. Gregory. Aside to Samson. Say better. Here comes one of my master's kinsmen. Samson. Yes, better, sir. Abram. You lie. Samson. Draw if you be men. Gregory, remember thy swashing blow. They fight. Benbolio. Part fools. Beats down their swords. Put up your swords. You know not what you do. Enter Tybalt. Tybalt. What art thou drawn among these heartless hinds? Turn thee, Benbolio. Look upon thy death. Benbolio. I do but keep the peace. Put up thy sword. Or manage it to part these men with me. Tybalt. What, drawn in talk of peace?   Have at thee, coward. They fight. Enter an officer and three or four citizens with clubs or partisans. Officer. Clubs, bills and partisans. Strike. Beat them down. Citizens. Down with the Capulets. Down with the Montagues. Enter old Capulet in his gown and his wife. Capulet. What noise is this? Give me my longsword. Ho. Wife. A crutch. A crutch. Why call you for a sword? Capulet. My sword, I say. Old Montague has come and flourishes his blade in spite of me. Enter old Montague and his wife. Montague. Thou, villain Capulet, hold me not. Let me go. Montague's wife. Thou shalt not stir one foot to seek a foe. Enter Prince Escalus with his train. Prince. Rebellious subjects. Enemies to peace. Profaners of this neighbor. Stained steel. Will they not hear? What? Ho. You men. You beasts. Precious rage with purple fountains issuing from your veins.  Three civil brawls, bread of an airy word, by thee old Capulet and Montague, have thrice disturbed the quiet of our streets and made Verona's ancient citizens cast by their grave the seeming ornaments to wield old partisans. And hands as old, cankered with peace. Depart your cankered hate. If ever you disturb our streets again, your lives shall pay the forfeit of the peace. For this time all the rest depart away. You, Capulet, shall go along with me and Montague come you this afternoon to know our farther pleasure in this case. To old Freetown our common judgment plays. Once more, on pain of death, all men depart. Exunt, all but Montague, his wife and Benvolio. Montague, who set this ancient quarrel new abroach? Speak, nephew, were you by when it began? Benvolio, here were the servants of your adversary and yours, close fighting ere I did approach. I drew to part them.  Came more and more and fought on part and part, till the Prince came, who parted either part. Montague's wife. Oh, where is Romeo? Saw you him today? Right, God, I am. He was not at this fray. Benvolio. Madam, an hour before the worshipped son peered forth the golden window of the east, a troubled mind draped me to walk abroad, where, underneath the grove of Sycamore, that westward rudeth from the city's side, so early walking did I see your son. Towards him I made, but he was where of me and stole into the covert of the wood. I, measuring his affections by my own, which then most sought were most might not be found, being one too many by my weary self, pursued my humor, not pursuing his, and gladly shunned who gladly fled from me. Montague. Many a morning hath he there been seen, with tears augmenting the fresh morning's dew, adding to clouds more clouds with his deep sighs, but also soon as the all-charing sun should in the farthest east bean to draw the shady curtains from Aurora's bed. Away from light steals home my heavy sun, and private in his chamber pens himself, shut up his windows, locks fair daylight, and makes himself an artificial night. Black and portentious must this humor prove, unless good counsel may the cause remove. Benvolio. My noble uncle. Do you know the cause? Montague. I neither know it nor can learn of him. Benvolio. Have you importuned him by any means? Montague. Both by myself and many other friend, but he, his own affections counselor, is to himself, I will not say how true, but to himself so secret and so close, so far from sounding and discovery, as is the bud-bit with an envious worm, ere he can spread his sweet leaves to the air or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow? We would as willingly give cure as no. Enter Romeo. Benvolio. See where he comes. So please you step aside. I'll know his grievance or be much denied. Montague. I would thou wert so happy by thy stay to hear true shrift. Come, madam, let's away. Exunt. Montague and wife. Benvolio. Good morrow, cousin. Romeo. It's the day so young. Benvolio. But new struck nine. Romeo. I, me. Sad hours seem long. Was that my father that went hence so fast? Benvolio. It was. What sadness lengthens Romeo's hours? Romeo. Not having that which having makes them short. Benvolio. And love? Romeo. Out. Benvolio. Of love? Romeo. Out of her favor where I am in love. Benvolio. Alas, that love, so gentle in his view, should be so tyrannous and rough in proof. Romeo. Alas, that love, whose view is muffled still, should without eyes see pathways to his will. Where shall we dine? O me, what fray was here? Yet tell me not, for I have heard it all. Here's much to do with hate, but more with love. Why, then, o brawling love, o loving hate, o anything of nothing first create? O heavy lightness, serious vanity, misshapen chaos of well-seeming forms, feather of lead, bright smoke, cold fire, sick health, still waking in sleep. That is not what it is, this love, feel I, that feel no love in this. Does thou not laugh? Benvolio. No, cause, I rather weep. Romeo. Good heart, at what? Benvolio. At thy good heart's oppression. Romeo. Why, such is love's transgression, grieves of mine own lie heavy in my breast, which thou wilt propagate, to have it pressed with more of thine. This love that thou hast shown doth add more grief to much of mine own. Love is a smoke raised with the fume of sighs, being purged, a fire sparkling in lover's eyes, being vexed, a sea nourished with lover's tears. What is it else? A madness most discreet, a choking gall in a preserving sweet. Farewell, my cause. Benvolio.  Romeo. Tut, I have lost myself. I am not here. This is not Romeo. He's some other where. Benvolio. Tell me in sadness. Who is that you love? Romeo. What? Shall I groan and tell thee? Benvolio. Grown? Why, no. But, sadly, tell me who? Romeo. Bid a sick man in sadness make his will. Ah, word ill urged, to one that is so ill. In sadness, cousin, I do love a woman. Benvolio. I aimed so near when I supposed you loved. Romeo. A right good markman, and she's fair I love. Benvolio. A right fair mark, fair cause, is soonest hit. Romeo. Well, in that hit you miss. She'll not be hit with Cupid's arrow. She hath Dian's wit. And, in strong proof of chastity, well armed. From love's weak childish bow, she lives unharmed. She will not stay the siege of loving terms, nor bide the encounter of assailing eyes, nor ope her lap to Saint Siducing Gold. Oh, she's rich in beauty, only poor that, when she dies, with beauty dies her store. Benvolio. Then she hath sworn that she will still live chaste? Romeo. She hath. And in that sparing makes huge waste. For beauty starved with her severity, cuts beauty off from all posterity. She is too fair, too wise, wisely too fair, to merit bliss by making me despair. She hath forth sworn to love. And in that vow do I live dead that live to tell it now. Benvolio. Be ruled by me. Forget to think of her. Romeo. Oh, teach me how I should forget to think. Benvolio. By giving liberty unto thine eyes, examine other beauties. Romeo. Tis the way to call hers. Exquisite. And question more. These happy masks that kiss fair ladies' brows. Being black puts us in mind they hide the fair. He that is struck and blind cannot forget the precious treasure of his eyesight lost. Show me a mistress that is passing fair. What doth her beauty serve but as a note where I may read who passed that passing fair? Farewell. Thou canst not teach me to forget. Benvolio.  Exant. Scene two. A street. Enter Capulet, County Paris, and servant, the clown. Capulet. But Monta, he was bound as well as I, and penalty alike, and tis not hard, I think, for men so old as we to keep the peace. Paris. Of honorable reckoning are you both, and pity tis you lived at odds so long. But now, my lord, what say you to my suit? Capulet. But saying or what I have said before, my child is yet a stranger in the world. She hath not seen the change of fourteen years. Let two more summers wither in their pride, ere we may think her ripe to be a bride. Paris. Younger than she are happy mothers made. Capulet. And too soon marred are those so early made. The earth hath swallowed all my hopes but she. She is the hopeful lady of my earth. But woo her, gentle Paris, get her heart. My will to her consent is but a part. And she agree within her scope of choice lies my consent and fair according voice. This night I hold an old accustomed feast, where too I have invited many a guest, such as I love, and you among the store one more most welcome makes my number more. At my poor house look to behold this night, earth treading stars that make dark heaven light. Such comfort as do lusty young men feel when well apparel'd April on the heel of limping winter treads. Even such delight among fresh female buds shall you this night inherit at my house. Here all, all see, and like her most, whose merit most shall be. Which, on more view of many, mine being one, may stand in number, though in reckoning none. Come, go with me. Disservant giving him a paper.  Exunt, Capulet in Paris. Servant, find them out whose names are written here. It is written that the shoemaker should meddle with his yard, and the tailor with his last, the fisher with his pencil, and the painter with his nets. But I am sent to find those persons whose names are here writ, and can never find what names the writing person hath here writ. I must, to the learned, in good time. Enter Benvolio and Romeo. Benvolio. Tut, man, one fire burns out another's burning, one pain is lessened by another's anguish. Turn giddy, and be hoped by backward turning, when desperate grief cures with another's languish. Take thou some new infection to thy eye, and the rank poison of the old will die. Romeo, your plantain leaf is excellent for that. Benvolio, for what I pray thee? Romeo, for your broken shin. Benvolio. Why, Romeo, art thou mad? Romeo, not mad, but bound more than a madman is.  Servant. God, g'godden, I pray, sir. Can you read? Romeo, I, my known fortune in my misery. Servant. Perhaps you have learned it without book, but I pray, can you read anything you see? Romeo, I, if I know the letters in the language. Servant. Ye say honestly, rest you merry. Romeo. Stay, fellow, I can read. He reads. Signior Martino and his wife and daughters. Count Anne Selmo and his beautious sisters. The lady widow of Vitruvio. Signior Plessiento and his lovely nieces. Mercutio and his brother Valentine. My uncle Capulet, his wife and daughters. My fair niece Rosaline and Livia. Signior Valencio and his cousin Tybalt. Lucio and the lively Helena. Gives back the paper. A fair assembly. Where there should they come? Servant. Up. Romeo. Wither. Servant. To supper, to our house. Romeo. Whose house? Servant. My master's. Romeo. Indeed, I should have asked you that before. Servant. Now I'll tell you without asking. My master is the great rich Capulet. And if you be not of the house of Montague's, I pray, come and crush a cup of wine. Rest you merry. Exit. Benvolio. At this same ancient feast of Capulets, Sups the fair Rosaline, whom thou so lovest, With all the admired beauties of Verona. Go, thither, and with unattain'd eye, Compare her face with some that I shall show, And I will make thee think thy swan a crow. Romeo. When the devout religion of mine eye Maintains such falsehood, Then turn tears to fires, And these, who often drown, could never die. Transparent heretics, be burnt for liars. One fairer than my love? The all-seeing son, Nair, saw her match Since first the world begun. Benvolio. Tut. You saw her fair, none else being by, Herself poised with herself in either eye. But in that crystal scales Let there be wade your lady's love Against some other maid, That I will show you shining at this feast, And she shall scant show well That now seems best. Romeo. I'll go along. No such sight to be shown, But to rejoice in splendor of my own. Exant. Scene three. Capulets' house. Enter Capulets' wife and nurse. Wife. Nurse, where's my daughter? Call her forth to me. Nurse. Now, by my maiden head at twelve year old, I bade her come. What? Lamb? What lady bird? God forbid, where's this girl? What? Juliet? Enter Juliet. Juliet. How now? Who calls? Nurse.  Juliet. Madam, I am here. What is your will? Wife. This is the matter. Nurse, give leave a while. We must talk in secret. Nurse, come back again. I have remembered me. Thou's hear our counsel. Thou knowest my daughters of a pretty age. Nurse. Faith. I can tell her age unto an hour. Wife. She's not fourteen. Nurse. I'll lay fourteen of my teeth, And yet to my teen be it spoken. I have but four. She is not fourteen. How long is it now to lamestide? Wife. A fortnight in odd days. Nurse. Even or odd, Of all days in the year, Come lamest eve at night, Shall she be fourteen. Susan and she, God rest all Christian souls, Where of an age. Well, Susan is with God. She was too good for me. But as I said, On lamest eve at night, Shall she be fourteen. That shall she marry. I remember it well, To his sense the earthquake, Now eleven years, And she was weaned. I never shall forget it. Of all the days of the year, Upon that day, For I had then laid wormwood To my dug, Sitting in the sun Under the dovehouse wall. My lord and you were then At mantua. Nay, I do bear a brain.  To see it techy, And fall out with the dug. Shake, Quote the dovehouse. T'was no need. I trode to bid me trudge. And since that time it is eleven years. For then she could stand high alone. Nay, By the rude she could have run And waddled all about. For even the day before She broke her brow.  Yea, quote he, Does thou fall upon thy face? Thou wilt fall backward When thou hast more wit. Wilt thou not jewel? And by my holodem The pretty wretch left crying And said, Aye, To see now how a jest shall come about. I warrant, And I should live a thousand years. I never should forget it. Wilt thou not jewel?  It stinted and said, Aye. Wife, Enough of this. I pray thee, Hold thy peace. Nurse, Yes, madam, Yet I cannot choose but laugh To think it should leave crying And say, Aye.  Thou wilt fall backward When thou comest to age? Wilt thou not jewel? It stinted and said, Aye. Juliet, And stint thou too. I pray thee, Nurse, Say, Aye. Nurse, Peace, God mark thee to his grace, Thou wast the prettiest babe That ere I nursed, And I might live to see the Married once I have my wish. Wife, Mary, That Mary is the very theme I came to talk of. Tell me, Daughter Juliet, How stands your disposition to be married? Juliet, It is an honor that I dream Not of. Nurse, An honor? Were not I thine only nurse, I would say thou hath sucked wisdom From thy teat. Wife, Well, Think of marriage now, Younger than you, Here in Verona, Ladies of esteem Are made already mothers.  Thus, Then in brief, The valiant Paris Seeks you for his love. Nurse, A man, Young lady? Lady, Such a man as all the world, Why, He's a man of wax. Wife, Verona's summer hath not such a flower. Nurse, Nay, He's a flower in faith, A very flower. Wife, What say you? Can you love the gentleman? This night you shall behold him At our feast. Read, Or the volume of young Paris' face And find the light Ripped there with beauty's pen. Examine every married liniment And see how one another lends content. And what obscured in this fair volume lies Find written in the margin of his eyes This precious book of love, This unbound lover, To beautify him only lacks a cover. The fish lives in the sea And tis much pride for fair Without the fair within to hide. That book in many's eyes, Doth share the glory That in gold clasps locks And the golden story. So shall you share all that he doth possess By having him making yourself No less. Nurse, No less. Nay, Bigger women grow by men. Wife, Speak briefly. Can you like of Paris' love? Juliet, I'll look to like If looking, Liking move, But no more deep will I In dart mine eye Than your consent give strength And make it fly. Enter serving man. Serving man. Madam, The guests are come, Supper served up. You called, My young lady asked for. The nurse cursed in the pantry And everything in extremity. I must hence to wait. I beseech you follow straight. Wife, We follow thee. Exit, Serving man. Juliet, The county stays. Nurse, Go girl, Seek happy nights To happy days. Exit, Seen for a street. Enter Romeo, Mercutio, Benvolio, With five or six other Maskers, Torchbearers. Romeo, What shall this speech be Spoke for our excuse, Or shall we on without apology? Benvolio, The date is out of such Prolixity, We'll have no cupid hoodwinked With a scarf, Bearing a tartar's painted bow of Laugh, Scaring the ladies like a crowkeeper, Nor no without book prologue Faintly spoke after the Promptor for our entrance, But let them measure us By what they will. We'll measure them a measure And be gone. Romeo, Give me a torch. I am not for this ambling Being but heavy. I will bear the light. Mercutio, Nay, gentle Romeo, We must have you dance. Romeo, Not I, believe me, You have dancing shoes, With nimble soles, I have a soul of lead. So stakes me to the ground I cannot move.  Romeo, I am too soar In pierced with his shaft To soar with his light feathers, And so bound I cannot bound A pitch above dull wool. Under love's heavy birthing Do I sink? Mercutio, And to sink in it Should you birthing love To great oppression For a tender thing? Romeo, Is love a tender thing?  Mercutio, If love be rough with you, Be rough with love. Prick love for pricking, And you beat love down. Give me a case to put my visage in. A visor for a visor. What care I? What curious eye-death quote deformities? Here are the beetle-brows Shall blush for me. Benvolio, Come, Knock and enter, And know sooner in, But every man be take him to his legs. Romeo, A torch for me, Let wanton's light of heart Tickle the senseless rushes with their heels. For I am proverbed With a grand sire phrase, I'll be a candle-holder and look on. The game was near so fair, And I am done. Mercutio, Tut, Duns the mouse, The constable's own word. If thou art done, We'll draw thee from the mire Of this sir reverence love, Wherein thou sticks'd up to the ears. Come, We burn daylight. Oh, Romeo, Nay, That's not so. Mercutio, I mean, sir, in delay. We waste our lights in vain, Like lamps by day. Take our good meaning, For our judgment sits Five times in that ear, Once in our five wits. Romeo, And we mean well In going to this mask, But is no wit to go. Mercutio, Why? Made one ask. Romeo, I dreamt a dream tonight. Mercutio, And so did I. Romeo, Well, what was yours? Mercutio, That dreamers often lie. Romeo, In bed asleep, While they do dream things true. Mercutio, Oh, Then I see Queen Mab Hath been with you. She is the fairy's midwife, And she comes in shape No bigger than an agate stone On the forefinger of an alderman. Drawn with a team of little atomies, Athwart's men's noses As they lie asleep. Her wagon spokes Made of long spinners' legs, The cover of the wings of grasshoppers, Her traces of the smallest spider's web, Her collars of the moonshine's watry beams, Her whip of cricket's bone, The lash of film, Her wagoner, A small gray-coated net, Not half so big as a round little worm Pricked from the lazy finger of a maid. Her chariot is an empty hazelnut Made by the joiner's squirrel or old grub. Time out a mind the fairy's coachmakers. And in this state She gallops night by night Through lovers' brains, And then they dream of love.  Sometimes she gallops Or a courtier's nose And then dreams he Of smelling out a suit. And sometimes comes she With a tithe pig's tail, Tickling a parson's nose As a lie's asleep. Then dreams he Of another benefit. Sometimes she dribeth Or a soldier's neck. And then dreams he Of cutting foreign throats Of breeches, Am buscatos, Spanish blades Of helts, Five fathom deep. And then anon Drums in his ear, At which he starts and wakes, In being thus frightened, Swear's a prayer Or two and sleeps again. This is that very Mab That plaits the mains Of horses in the night And bakes the alphlocks And fowl sluttish hairs. Which once untangled Much misfortune bodes, This is the hag When maids lie on their backs That presses them And learns them first to bear, Making them women Of good carriage. This is she, Romeo, Peace, peace, Mercutio, Peace, thou talkst of nothing, Mercutio. True, I talk of dreams, Which are the children Of an idle brain, Begot of nothing but vain fantasy, Which is as thin Of substance as the air, And more inconstant Than the wind, Who woos even now The frozen bosoms of the north, And, being angered, Puffs away from vents, Turning his face to the dew Dropping south. Benvolio, this wind you talk of Blows us from ourselves. Supper is done, And we shall come too late. Romeo, I fear too early. For my mind misgives Some consequence. Yet hanging in the stars Shall bitterly begin His fearful date with this Night's revels And expire the term Of a despised life, Closed in my breast. By some vile forfeit of untimely death. But he that hath the steerage Of my course direct my sail. Unlusty gentlemen. Benvolio, strike drum. They march about the stage. Exunt. Scene five. Capulet's house. Serving men come forth With napkins. First servant. Where's Podpan That he helps not to take away? He shift a trencher. He scrape a trencher. Second servant. When good manners shall lie All in one or two men's hands, And they unwashed two, Tis a foul thing. First servant. Away with the joint stools. Remove the court cupboard. Look to the plate. Good thou.  Second servant. Aye, boy, ready. First servant. You are looked for And called for, Asked for and sought for In the great chamber. Third servant. We cannot be here and there too. Cheerly, boys. Be brisk awhile, And the longer liver take all. Exunt. Enter the maskers. Enter with servants. Capulet, his wife. Juliet, tibbled. And all the guests And gentle women to the maskers. Capulet. Welcome, gentlemen. Ladies that have their toes Unplagued with corns Will have about with you. Aha, my mistresses. Which of you all Will now deny to dance? She that makes dainty, She I'll swear hath corns. Am I come near ye now? Welcome, gentlemen. I have seen the day That I have worn a visor And could tell a whispering Tail in a fair lady's ear, Such as would please. Tis gone, tis gone, tis gone. You are welcome, gentlemen. Come, musicians, play. A hall, a hall. Give room. And foot it, girls. Music plays, and they dance. More light, you knaves. And turn the tables up. And quench the fire. The room is grown too hot. Ah, sirrah. This unlooked-for sport comes well. Nay, sit. Nay, sit. Good cousin, Capulet. For you and I Are past our dancing days. How long is it now Since last yourself and I Were in a mask? Second, Capulet. By our lady, thirty years. Capulet. What, man? Tis not so much. Tis not so much. Tis since the nuptial of Lucencio. Come, Pentecost, as quickly as it will. Some five and twenty years. And then we masked. Second, Capulet. Tis more, tis more. His son is elder, sir. His son is thirty. Capulet. Will you tell me that? His son was but a ward two years ago. Romeo to a serving man. What lady's that? Which doth enrich the hand of yonder night? Serving man. I know not, sir. Romeo. Oh, she doth teach the torches to burn bright. It seems she hangs upon the cheek of night Like a rich jewel in an ethiope's ear. Beauty too rich for use, for earth too dear. So shows a snowy dove Trooping with crows as yonder lady Or her fellows shows. The measure done. I'll watch her place of stand And touching hers make blessed my rude hand. Did my heart love till now? Forswear at sight? For I ne'er saw true beauty till this night. Tibbled. This, by his voice, should be a montague. Fetch me my rapier boy. What dares the slave come hither? Covered with an antique face To fleer and scorn at our solemnity. Now, by the stock and honor of my kin To strike him dead, I hold it not a sin. Capulet. Why? How now, kinsmen? Wherefore storm you so? Tibbled. Uncle, this is a montague, our foe. A villain that is hither come in spite To scorn at our solemnity this night. Capulet. Young Romeo, is it? Tibbled. Tis he that villain Romeo? Capulet. Content thee, gentle cause. Let him alone. A bear's him like a portly gentleman. And to say truth, Verona brags of him To be a virtuous and well-governed youth. I would not for the wealth of all this town Here in my house do him disparagement. Therefore be patient. Take no note of him. It is my will. The witch, if thou respect, Show a fair presence and put off these frowns. And he'll be seeming semblance for a feast. Tibbled. It fits when such a villain is a guest. I'll not endure him. Capulet. He shall be endured. What good men, boy? I say he shall go to. Am I the master here or you? Go to. You'll not endure him. God shall mend my soul. You'll make a mutiny among my guests. You will set cock-a-hoop. You'll be the man. Tibbled. Why, uncle, tis a shame. Capulet. Go to. Go to.  Is it so indeed? This trick may chance to scathe you. I know what. You must contrary me. Married his time. Well said my hearts.  More light. More light. For shame I'll make you quiet. What? Cheerly, my hearts. Tibbled. Patience per force with willful collar meeting makes my flesh tremble in their different greeting. I will withdraw. But this intrusion shall no seeming sweet convert to bitterest gall. Exit. Romeo. If I profane with my unworthiest hand this holy shrine, the gentle fine is this. My lips to blushing pilgrims ready stand to smooth that rough touch with a tender kiss. Juliet. Good pilgrim, you do wrong your hand too much, which mannerly devotion shows in this. For saints have hands that pilgrims' hands do touch, and palm to palm is holy palmer's kiss. Romeo. Have not saints lips and holy palmers too? Juliet. I, pilgrim, lips that they must use in prayer. Romeo. Oh then, dear saint, let lips do what hands do. They pray, grant thou lest faith turn to despair. Juliet. Saints do not move, though grant for prayers sake. Romeo. Then move not while my prayers effect I take. Thus from my lips by thine my sin is purged. Kisses her. Juliet. Then have my lips the sin that they have took. Romeo. Sin from my lips? Oh, trespass sweetly urged. Give me my sin again. Kisses her. Juliet. You kiss by the book? Nurse.  Romeo. What is her mother? Nurse. Mary, bachelor, her mother is the lady of the house, and a good lady, and a wise and virtuous. I nursed her daughter that you talked with all. I tell you, he that can lay hold of her shall have the chinks. Romeo. Is she a capulet? Oh, dear account. My life is my foe's debt. Benvolio, away be gone the sport is at the best. Romeo. I, so I fear the more is my unrest. Capulet. Nay, gentlemen, prepare not to be gone. We have a trifling foolish banquet towards. Is it in so? Why, then, I thank you all. I thank you, honest gentleman. Good night. More torches here, exempt massacres. Come on, then, let's to bed. Ah, sirrah, by my fay it waxes late. All to my rest, exempt. All but Juliet and nurse. Juliet. Come hither, nurse. What is yon gentleman? Nurse. The son and heir of old Tiberio. Juliet. What's he that now is going out of door? Nurse. Mary that I think be young Petrucchio. Juliet. What's he that follows there that would not dance? Nurse. I know not. Juliet. Go ask his name if he be married. My grave is like to be my wedding bed. Nurse. His name is Romeo.  Juliet. My only love? Sprung from my only hate? Too early seen unknown and known too late. Predigious birth of love. It is to me that I must love a loaded enemy. Nurse. What's this? What's this? Juliet. A rhyme I learned even now. Of one I danced with all. One calls within. Juliet. Nurse. Anon, anon. Come, let's away. The strangers all are gone. Exempt. End of Act One. Act Two of the Tragedy of Romeo and Juliet by William Shakespeare. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information and to find out how you can volunteer, please visit LibriVox.org. Recording by Sam Stinson. Act Two. Prologue. Enter Chorus. Chorus. Now old desire doth in his deathbed lie, and young affection gapes to be his heir. That fair for which love groaned for and would die, with tender Juliet matched, is now not fair. Now Romeo is beloved and loves again, alike bewitched by the charm of locks. But to his foe supposed he must complain, and she steel loves sweet bait from fearful hooks. Being held a foe, he may not have access to breathe such vows as lovers used to swear, and she as much in love, her means much less to meet her new beloved anywhere. But passion lends them power, time means to meet, tempering extremities with extreme sweet. Exit. Scene One. A lane by the wall of Capulet's orchard. Enter Romeo alone. Romeo. Can I go forward when my heart is here? Turn back dull earth and find thy center out. Climes the wall and leaps down within it. Enter Benvolio with Mercutio. Benvolio. My cousin Romeo. Romeo. Mercutio. He is wise, and on my life hath stolen him home to bed. Benvolio. He ran this way, and leapt this orchard wall. Call good Mercutio. Mercutio. Nay, I'll conjure too. Romeo, humors, madman, passion, lover, appear thou in the likeness of a sigh, speak what one rhyme, and I am satisfied. Cry but I me, pronounce but love and dove, speak to my gossip Venus one fair word, one nickname for her per-blind son and heir. Young Adam Cupid, he that shot so trim, when King Cofechua loved the beggar maid. He heareth not, he stirreth not, be moveth not. The ape is dead, and I must conjure him. I conjure thee by Rosaline's bright eyes, by her high forehead and her scarlet lip, by her fine foot, straight leg, and quivering thy, and the demeans that their adjacent lie, that in thy likeness thou appear to us, Benvolio, and if he hear thee, thou wilt anger him. Mercutio.  That were some spite. My invocation is fair and honest in his mistress' name. I conjure only but to raise up him. Benvolio. Come, he hath hid himself among these trees to be consorted with the humorous night. Blind is his love, and best befits the dark. Mercutio. If love be blind, love cannot hit the mark. Now will he sit under a medlar tree in which his mistress were that kind of fruit, as maids call medlars when they laugh alone. Oh, Romeo, that she were. Oh, that she were an open, et cetera, thou a popper in pair. Romeo, good night, all to my truckle bed. This field bed is too cold for me to sleep. Come, shall we go? Benvolio. Go, then, forked his in vain to seek him here that means not to be found. Exunt. Scene two. Capulet's orchard. Enter Romeo. Romeo. He jests at scars that never felt a wound. Enter Juliet above at a window. But soft, what light through yonder window breaks. It is the east, and Juliet is the sun.  Be not her maid, since she is envious. Her vestal livery is but sick and green, and none but fools do wear it. Cast it off. It is my lady. Oh, it is my love. Oh, that she knew she were. She speaks, yet she says nothing. What of that? Her eye discourses. I will answer it. I am too bold. Tis not to me she speaks. Two of the fairest stars in all the heaven, having some business, do entreat her eyes to twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars as daylight doth a lamp. Her eyes in heaven would, through the airy region, stream so bright that birds would sing and think it were not night. See how she leans her cheek upon her hand.  Juliet, I me. Romeo, she speaks. Oh, speak again, bright angel, for thou art as glorious to this night being o'er my head, as is a winged messenger of heaven unto the white, upturned, wandering eyes of mortals that fall back to gaze on him when he bestrides the lazy, pacing clouds and sails upon the bosom of the air. Juliet, oh, Romeo, Romeo, wherefore art thou, Romeo, deny thy father and refuse thy name, or, if thou wilt not, be but sworn my love and I'll no longer be a capulet. Romeo, aside, shall I hear more or shall I speak at this? Juliet, tis but thy name that is my enemy, thou art thyself, though not a Montague, what's Montague? It is nor hand, nor foot, nor arm, nor face, nor any other part belonging to a man. Oh, be some other name. What's in a name, that which we call a rose by any other name, would smell as sweet? So Romeo would, were he not Romeo called? Retain that dear perfection which he owes without that title. Romeo, doth thy name, and for that name which is no part of thee, take all myself. Romeo, I take thee at thy word, call me but love, and I'll be new baptized, henceforth I never will be Romeo. Juliet, what man art thou that, thus bescreened in night, so stumblest on my counsel? Romeo, by a name I know not how to tell thee who I am. My name, dear Saint, is hateful to myself, because it is an enemy to thee. Had I it written, I would tear the word.  Art thou not Romeo and a Montague? Romeo, neither fair Saint, if either thee dislike. Juliet, how camest thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, and the place death, considering who thou art, if any of my kinsmen find thee here. Romeo, with love's light, wings, did I or perch these walls, for stony limits cannot hold love out, and what love can do that dares love attempt? Therefore thy kinsmen are no let to me. Juliet, if they do see thee, they will murder thee. Romeo, alack, there lies more peril in thine eye than twenty of their swords. Look thou but sweet, and I am proof against their enmity. Juliet, I would not for the world they saw thee here. Romeo, I have night's cloak to hide me from their sight, and but thou love me, let them find me here. My life were better ended by their hate than death, pro-robed, wanting of thy love. Juliet, by whose direction foundest thou out this place? Romeo, by love that first did prompt me to inquire, he lent me counsel, and I lent him eyes. I am no pilot, yet work thou as far as that vast shore washed with the farthest sea I would adventure for such merchandise. Juliet, thou knowest the mask of night is on my face, else would a maiden blush the paint my cheek, for that which thou hast heard me speak tonight. Fain would I dwell on form, fain, fain deny what I have spoke, but farewell compliment. Does thou love me? I know thou wilt say I, and I will take thy word. Yet if thou swarest, thou mayest prove false. At lovers' perjuries they say Jove laughs. O gentle Romeo, if thou dost love, pronounce it faithfully, or if thou thinkest I am too quickly one, I'll frown and be perverse and say thee nay. So thou wilt woo, but else not for the world. In truth fair Montague, I am too fond, and therefore thou mayest think my heavier light. But trust me, gentlemen, I'll prove more true than those that have more cunning to be strange. I should have been more strange, I must confess, but that thou overhurst ere I was where. My true love passion, therefore pardon me, and not impute this yielding to light love which the dark night hath so discovered. Romeo, lady by yonder blessed moon I swear, that tips with silver all these fruit-tree tops. Juliet, oh swear not by the moon, the inconstant moon that monthly changes in her circled orb lest that thy love prove likewise variable. Romeo, what shall I swear by? Juliet, do not swear at all, or if thou wilt swear by thy gracious self, which is the God of my idolatry, and I'll believe thee. Romeo, if my heart's dear love, Juliet, well do not swear, although I joy in thee, I have no joy of this contract to-night. It is too rash, too unadvised, too sudden, too like the lightning which doth cease to be, ere one can say, it lightens. Sweet, good night, this bud of love by summer's ripening breath may prove a beautyous flower when next we meet. Good night, good night, as sweet repose and rest come to thy heart as that within my breast. Romeo, oh, wilt thou leave me so unsatisfied? Juliet, what satisfaction can't thou have to-night? Romeo, the exchange of thy love's faithful vow for mine. Juliet, I gave thee mine before thou dis-prequest it, and yet I would it were to give again. Romeo, wilt thou withdraw it? For what purpose, love? Juliet, but to be frank and give it thee again, and yet I wish but for the thing I have. My bounty is as boundless as the sea. My love is deep. The more I give to thee, the more I have, for both are infinite. I hear some noise within. Dear love, I do. Nurse calls within. A non-good nurse? Sweet Montehue, be true. Stay but a little. I will come again. Exit. Romeo, oh, blessed, blessed night, I am a feared being in-night. All this is but a dream. Too flattering sweet to be substantial. Enter Juliet above. Juliet, three words, dear Romeo, and good night indeed. If that thy bent of love be honorable, thy purpose marriage, send me word tomorrow by one that all procure to come to thee, where and what time thou wilt perform the right, and all my fortunes at thy foot all lay, and follow thee, my lord, throughout the world. Nurse, within. Madam! Juliet, I come a non, but if thou meanest not well, I do beseech thee. Nurse, within. Madam! Juliet, by and by I come to cease thy suit and leave me to my grief. Tomorrow will I send. Romeo, so thrive my soul. Juliet, a thousand times good night. Exit. Romeo, a thousand times the worse to want thy light. Love goes toward love as schoolboys from their books, but love from love toward school with heavy looks. Enter Juliet again above. Juliet, hissed. Romeo hissed. For a falconer's voice to lure this tassel gentle back again. Bondages hoarse and may not speak aloud. Else would I tear the cave where echo lies and make her airy tongue more hoarse than mine with repetition of my Romeo's name. Romeo. Romeo, it is my soul that calls upon my name how silver sweet sound lovers tongues by night like softest music to attending ears. Juliet. Romeo. Romeo, my dear. Juliet, at what o'clock tomorrow shall I send to thee? Romeo, by the hour of nine. Juliet, I will not fail to his twenty years till then I have forgot why I did call thee back. Romeo, let me stand here till thou remember it. Juliet, I shall forget to have thee still stand there remembering how I love thy company. Romeo. And I'll still stay to have thee still forget forgetting any other home but this. Juliet.  Romeo, I would I were thy bird. Juliet. Sweet, so would I. Yet I should kill thee with much cherishing. Good night, good night, parting is such sweet sorrow that I shall say good night till it be morrow. Exit. Romeo. Sleep dwell upon thine eyes, peace in thy breast. Would I were sleep in peace so sweet to rest. Hence will I to my ghostly father's cell his help to crave and my dear hap to tell. Exit. Scene three. Friar Lawrence's cell. Enter Friar, Lawrence alone, with a basket. Friar. The grey-eyed morn smiles on the frowning night checkering the eastern clouds with streaks of light and flight darkness like a drunkard reels from fourth day's path in titan's fiery wheels. None ere the sun advance his burning eye the day to cheer and night's dank dew to dry. I must upfill this ozier cage of ours with baleful weeds and precious juiced flowers. The earth that's nature's mother is her tomb. What is her burying gave? That is her womb.  Many for many virtues excellent, none but for some, and yet all different. Oh, Mickle is the powerful grace that lies in plants, herbs, stones, and their true qualities. For not so vile that on the earth doth live, but to the earth some special good doth give, nor ought so good but strained from that fair use, revolts from true birth stumbling on abuse. Virtue itself turns vice being misapplied and vice sometimes by action dignified. Within the infant rind of this small flower poison hath residence and medicine power. For this being smelt with that part cheers each part, being tasted, and lays all senses with the heart. Two such opposed kings encamp them still in man as well as herbs, grace and rude will.  Enter Romeo. Romeo, good morrow father, friar, benediccite, what early tongue so sweet luteeth me, young son, it argues a distempered head. So soon to bid good morrow to thy bed care keeps his watch in every old man's eye, and where care lodges sleep will never lie. But where unbruised youth with unstuffed brain doth couch his limbs, their golden sleep doth reign.  Romeo, that last is true, the sweeter rest was mine. Friar, God pardon sin, was thou with Rosaline? Romeo, with Rosaline, my ghostly father, no, I have forgot that name, and that name's woe. Friar, that's my good son, but where hath thou been then? Romeo, I'll tell thee ere thou ask it me again. I have been feasting with mine enemy, where on a sudden one hath wounded me, that's by me wounded. Both are remedies within thy help, and holy physical eyes. I bear no hatred, blessed man, for lo, my intercession likewise steds my foe. Friar, be plain good son, and homely in thy drift, riddling confession finds, but riddling shrift. Romeo, then plainly know, my heart's dear love is set on the fair daughter of rich Capulet, as mine on hers, so hers is set on mine. And all combined, save what thou must combine by holy marriage, when and where and how we met, we wooed, and made exchange of vow. I'll tell thee as we pass, but this I pray, that thou consent to Marius today. Friar, holy Saint Francis, what a change is here, is Rosaline, that thou didst love so dear, so soon forsaken? Young men's love then lies, not truly in their hearts, but in their eyes. Jesu Maria, what a deal of brine hath washed thy sallow cheeks for Rosaline. How much salt water thrown away in waste to season love that of it doth not taste. The sun not yet thy sighs from heaven clears, thy old groans ring yet in mine ancient ears.  If ere thou wasst thyself, and these woes thine, thou and these woes were all for Rosaline. And art thou changed? Pronounce this sentence then. Women may fall when there's no strength in men. Romeo, thou chidest me oft for loving Rosaline. Friar, for doting, not for loving pupil mine. Romeo, and batst me, Barry Love. Friar, not in a grave, to lay one in, another out to have. Romeo, I pray thee chide not. She whom I love now doth grace for grace and love for love allow. The other did not so. Friar, oh, she knew well thy love did read by rote that could not spell. But come, young waverer, come, go with me. In one respect I'll thy assistant be, for this alliance may so happy prove to turn your household's rancor to pure love. Romeo, oh, let us hence I stand on sudden haste. Friar, wisely and slow, they stumble that run fast. Exant. Scene four, a street. Enter Benvolio in Mercutio. Mercutio, where the devil should this Romeo be? Came he not home to-night? Benvolio, not to his fathers, I spoke with his man. Mercutio, why, that same pale hard-hearted wench, that Rosaline, torments him so that he will sure run mad. Benvolio, Tybalt the kinsman to old Capulet, has sent a letter to his father's house.  Benvolio, Romeo will answer it. Mercutio, any man that can write may answer a letter. Benvolio, nay, he will answer the letter's master, how he dares being dared.  And is he a man to encounter Tybalt? Benvolio, why, what is Tybalt? Mercutio, more than Prince of Cats, I can tell you. Oh, he's the courageous captain of compliments. He fights as you sing, prick song, keeps time, distance, and proportion, rests me, his minimum rest, one, two, and the third in your bosom, the very butcher of a silk button, a duelist, a duelist, a gentleman of the very first house of the first and second cause. Ah, the immortal passato, the punto reverse, the hay. Benvolio, the what? Mercutio, the pox of such antique, lisping, affecting fantasticos, these new tuners of accent, by Yesiu a very good blade, a very tall man, a very good whore. Why is not this lamentable thing, Grandsir, that we should be thus afflicted with these strange flies, these fashion mongers, these pardonemies who stand so much on the new form that they cannot sit at ease on the old bench? Oh, their bones, their bones. Enter Romeo. Benvolio, here comes Romeo, here comes Romeo. Mercutio, without his row, like a dried herring. Oh, flesh, flesh, how art thou fishified. Now is he for the numbers that Petrarch flowed in. Laura, to his lady, was but a kitchen wench. Mary, she had a better love to be rhyme her. Dido, a dowdy, Cleopatra, a gypsy, Helen and hero, hildings and harlots, this be a gray eye or so, but not to the purpose. Señor Romeo, bonjour. There's a French salutation to your French slop. You gave us the counterfeit fairly last night. Romeo, good morrow to you both. What counterfeit did I give you? Mercutio. The slip, sir, the slip. Can you not conceive? Romeo, pardon good Mercutio. My business was great, and in such a case as mine a man may strain courtesy.  Romeo, meaning to cursey. Mercutio, thou hast most kindly hit it. Romeo, a most curious exposition. Mercutio, nay, I am the very pink of courtesy. Romeo, pink for flower. Mercutio, right. Romeo, why, then, is my pump well flowered? Mercutio, well said. Follow me this jest now till thou hast worn out thy pump, that when the single soul of it is worn the jest may remain after the wearing, solely singular. Romeo, oh single soul jest solely singular for the singleness. Mercutio, come between us, good Benvolio. My wits faint. Romeo, swits and spurs, swits and spurs, or I'll cry a match. Mercutio, nay, if our wits run the wild goose chase, I am done, for thou hast more of the wild goose in one of thy wits than I am sure I have in my whole five. Was I with you there for the goose? Romeo, thou was never with me for anything when thou was not there for the goose. Mercutio, I will bite thee by the ear for that jest. Romeo, nay, good goose, bite not. Mercutio, thy wit is a very bitter sweetening. It is a most sharp sauce. Romeo, and is it not then well served into a sweet goose? Mercutio, oh, here's a wit of chevereel that stretches from an inch narrow to an L broad. Romeo, I stretch it out for that word broad, which added to the goose, proves thee far and wide a broad goose. Mercutio, why is not this better now than groaning for love? Now art thou sociable, now art thou Romeo, now art thou what thou art, by art as well as by nature. For this driveling love is like a great natural that runs lolling up and down to hide his bobble in a hole. Benvolio, stop there, stop there. Mercutio, thou desires me to stop in my tail against the hare? Benvolio, thou wouldest else have made thy tail large. Mercutio, oh thou art deceived, I would have made it short, for I was come to the whole depth of my tail and meant indeed to occupy the argument no longer. Romeo, here's goodly gear. Enter nurse and her man, Peter. Mercutio, a sail, a sail. Benvolio, two, two, a shirt and a smock. Nurse, Peter, Peter, a non. Nurse, my fan, Peter. Mercutio, good Peter, to hide her face for her fan's the fairer face of the two. Nurse, God ye good morrow, gentlemen. Mercutio, God ye gooden, fair gentle woman. Nurse, is it gooden? Mercutio, tis no less, I tell ye, for the body hand of the dial is now upon the prick of noon.  Romeo, one gentle woman that God hath made for himself to mar. Nurse, by my troth it is well said for himself to mar. Quote a gentleman, can any of you tell me where I may find the young Romeo? Romeo, I can tell you, but young Romeo will be older when you have found him than he was when you sought him. I am the youngest of that name for fault of a worse. Nurse, you say well. Mercutio, yea, is the worst well? Very well took, in faith, wisely, wisely. Nurse, if you be he, sir, I desire some confidence with you. Benbolio, she will indict him to some supper. Mercutio, abod, abod, abod, so ho. Romeo, what hast thou found, Mercutio? No hair, sir, unless a hair, sir, in a lenton pie. That is something stale and whore ere it be spent. He walks by them and sings.   Romeo, will you come to your father's wheel to dinner thither? Romeo, I will follow you. Mercutio, farewell, ancient lady, farewell, sings. Lady, lady, lady, exit Mercutio. Benbolio. Nurse, marry farewell.  Romeo, a gentleman, nurse, that loves to hear himself talk and will speak more in a minute than he will stand to in a month. Nurse, and to speak anything against me I'll take him down and a word lustier than he is, and twenty such jacks, and if I cannot I'll find those that shall. I am none of his flirtgills, I am none of his skeins mates, and thou must stand by too, and suffer every knave to use me at his pleasure. Peter, I saw no man use you at his pleasure, if I had my weapon should quickly have been out, I warned you. I dare draw as soon as another man, if I see occasion in a good quarrel, and the law on my side. Nurse, now, afore God, I am so vexed that every part about me quivers, scurvy knave, pray you, sir, a word, and, as I told you, my young lady bid me inquire you out. What she bid me say I will keep to myself, but first let me tell ye, if ye should lead her into a fool's paradise, as they say. It were a very gross kind of behavior, as they say, for the gentle woman is young, and therefore, if you should deal double with her, truly it were an ill thing to be offered to any gentle woman, and very weak dealing. Romeo, nurse, commend me to thy lady and mistress, I protest unto thee. Nurse, good heart, and I faith I will tell her as much. Lord, Lord, she will be a joyful woman. Romeo, what wilt thou tell her, nurse? Thou dost not mark me. Nurse, I will tell her, sir, that you do protest, which, as I take it, is a gentleman-like offer. Romeo, bid her devise some means to come to shrift this afternoon, and there she shall at Friar Lawrence's cell be shrived and married. Here is for thy pains. Nurse, no, truly, sir, not a penny. Romeo, go to, I say you shall. Nurse, this afternoon, sir, well, she shall be there. Romeo, and stay, good nurse, behind the Abbey Wall. Within this hour my man shall be with thee, and bring thee cords made like a tackled stair, which to the high top gallant of my joy must be my convoy in the secret night. Farewell, be trusty, and I'll quit thy pains. Farewell, commend me to thy mistress. Nurse, now, God in heaven bless thee. Hark you, sir. Romeo, what sayst thou, my dear nurse? Nurse, is your man's secret? Did you nare here say, too, may keep counsel, putting one away? Romeo, I warrant thee my man's as true as steel. Nurse, well, sir, my mistress is the sweetest lady. Lord, Lord, when twas a little prading thing, oh, there is a nobleman in town, one Paris that would faintly knife a board. But she, good soul, had as leave, see a toad, a very toad, as see him. I anger her sometimes and tell her that Paris is the properer man. But, I'll warrant you, when I say so, she looks as pale as any clout in the verseal world. Doth not Rosemary and Romeo begin both with a letter? Romeo, I, nurse, what of that, both with an R? Nurse, ah, mocker, that's the dog's name, R is for the— No, I know it begins with some other letter, and she hath the prettiest sententious of it, of you and Rosemary, that it would do you good to hear it. Romeo, commend me to thy lady. Nurse, I a thousand times. Exit Romeo. Peter, Peter, anon. Nurse, Peter, take my fan and go before and apace. Exit. Scene five, Capulets orchard, enter Juliet. Juliet. The clock struck nine when I did send the nurse, and half an hour she promised to return. Perchance she cannot meet him, that's not so. Oh, she is lame. Love's heralds should be thoughts which ten times faster glide than the sun's beams, driving back shadows over low-ring hills. Therefore do nimble-pinion doves draw love, and therefore hath the winds swift cupid wings. Now is the sun upon the highmost hill of this day's journey, and from nine till twelve is three long hours, yet she has not come. Had she affections and warm youthful blood, she would be as swift in motion as a ball. My words would bandy her to my sweet love, and his to me. But old folks, many fain as they were, dead, unwieldly, slow, heavy, and pale as lead. Enter Nurse, and Peter. Oh, good, she comes. Oh, honey nurse, what news! Has thou met with him? Send thy man away. Nurse, Peter, stay at the gate. Exit Peter. Juliet. Now, good, sweet nurse, oh Lord, why lookest thou sad? Though news be sad, yet tell them merrily. If good, thou shamest the music of sweet news by playing it to me with so sour a face. Nurse, I am a weary, give me leave awhile. Fee, how my bones ache. What adjants have I had? Juliet. I would thou hatched my bones, and I thy news. Nay, come. I pray thee speak. Good, good nurse, speak. Nurse, yesu, what haste? Can you not stay awhile? Do you not see that I am out of breath? Juliet. How art thou out of breath when thou hast breath to say to me that thou art out of breath? The excuse that thou dost make in this delay is longer than the tale thou dost excuse. Is thy news good or bad? Answer to that. Say either, and I'll stay the circumstance. Let me be satisfied. Is it good or bad? Nurse. Well, you have made a simple choice. You know not how to choose a man. Romeo. No, not he. Though his face be better than any man's, yet his leg excels all men's. And for a hand in a foot and a body, though they be not to be talked on, yet they are past compare. He is not the flower of courtesy, but I'll warrant him as gentle as a lamb. Go thy ways, Wedge. Serve God. What, have you dined at home? Juliet. No, no. But all this did I know before. What says he of our marriage? What of that? Nurse. Lord, how my head aches.  And beats as it would fall in twenty pieces. My back. Oh, to other side. Ah, my back, my back. Bershrew your heart for sending me about to catch my death with Johnson up and down. Juliet. Faith, I am sorry that thou art not well. Sweet, sweet, sweet nurse, tell me, what says my love? Nurse.  Where is your mother? Juliet. Where is my mother? Why, she is within. Where should she be? How oddly thou repliast.  Nurse. Oh, God's lady, dear, are you so hot? Mary, come up, I tro. Is this the poultice for my aching bones? Henceforward do your messages yourself. Juliet. Here's such a coil. Come, what says Romeo? Nurse. Have you got leave to go to Schrift today? Juliet. I have. Nurse. Nurse. Then he you hence to Friar Lawrence's cell. There stays a husband to make you a wife. Now comes the wanton blood up in your cheeks. They'll be in scarlet straight at any news. He you to church. I must another way, to fetch a ladder, By the which your love must climb a bird's nest Soon when it is dark. I am the drudge and toil in your delight, But you shall bear the burden soon at night. Go, all to dinner. He you to the cell. Juliet. He, to high fortune, honest nurse farewell. Exunt. Scene six. Friar Lawrence's cell. Enter Friar Lawrence and Romeo. Friar. So smile the heavens upon this holy act That after hours with sorrow chide us not. Romeo. Amen, amen, but come what sorrow can And cannot counter veil the exchange of joy That one short minute gives me in her sight. Do thou but close our hands with holy words Then love devouring death do what he dare. It is enough I may but call her mine. Friar.  The sweetest honey is loathsome in his own deliciousness And in the taste confounds the appetite. Therefore love moderately. Long love doth so. Too swift arrives as tardy as too slow. Enter Juliet. Here comes the lady. Oh, so light a foot will nere wear out The everlasting flint. A lover may bestride the gossamer That idols in the wanton summer air And yet not fall, so light is vanity. Juliet. Good even to my ghostly confessor. Friar. Romeo shall thank thee, daughter, for us both. Juliet. As much to him else is his thanks too much. Romeo. Ah, Juliet. If the measure of thy joy be heaped like mine And that thy skill be more to blazen it, Then sweeten with thy breath this neighbor air And let rich music's tongue unfold the imagined happiness That both receive in either by this dear encounter. Juliet. Conceit, more rich in matter than in words, Brags of his substance, none of ornament. They are but beggars that can count their worth. But my true love is grown to such excess Cannot sum up some of half my wealth. Friar. Come, come with me, and we will make short work. For by your leaves you shall not stay alone Till holy church incorporate two in one. Exit.


I don't know why, but whenever a new game, a new FNAF game comes out, something always goes wrong with the first episode. FNAF 6 didn't record because I apparently misclicked the start recording button. Custom night, computer was way too slow, couldn't really keep up with that, so the game was, or at least the footage was pretty choppy, pretty janky, and now we come to help want it. Everything was fine, everything was looking perfect, I had such a great time playing it, and then I went to edit it and I realized that this thing, this stupid thing right here, was connected but didn't pick up any of my audio, so I had the games audio, just didn't record any of my audio. So now I've kind of come to a crossover here. I can either redo the entirety of the FNAF 1 mini games, all of them up to night 4, which I did beat and have footage of, or I can just show you guys me beating them, except I don't have any audio. Right now, I haven't made a decision yet, still debating what I should do, but for now, I think I'm just going to have to remain silent, because I had nearly an hour, no, over an hour worth of footage for that, for those mini games. Of course, I'll show you the good parts, you know, the opening, when I beat the night, so you guys can actually believe me, you know, we encounter the weird glitchy bunny guy, who apparently is like, I don't know, we even know who it is, but yeah, I'm going to show, it's going to play out just like a normal video, except I will not be talking. I even recorded something at the end, which I apparently did not have any audio for as well, so I guess, I guess I'll just have to repeat it here. Five Nights at Freddy's VR Help Wanted is a game like no other, and it's a huge milestone for the franchise. For nearly five years and seven, six, seven games later, almost all of them have now been put into VR, which is just unbelievable. The fact that Steel World, Lionsgate, and Scott managed to create something so, so unbelievably awesome in just a few months, maybe half a year, is mind blown. It truly is crazy, and I had such a great time playing it, I really did. Now, like I said before, my audio was messed up, but I did have over an hour's worth of footage that I will show to you again like a normal video, except I won't have audio. So, yeah, that's just the course of me and episode one of New FNAF titles, that's just how it goes. But now that I know everything should be walking now, I'm probably going to record episode two, right after I finish uploading this video, and that will have my audio. But for now, no audio episode one. Enjoy that. It's pretty cool, even if I don't have any audio. Freddy Fazbear Virtual Experience. Fazbear Entertainment is excited to join the digital age, and what better way to do that than with an edge of your seat virtual reality experience. We know that Fazbear Entertainment has developed something of a bad reputation over the last few decades, and while it's true that some stories associated with our name were loosely based on actual events, the majority of them were total fabrications from the mind of a complete lunatic, lawsuits pending, but we aren't above laughing at ourselves. Ha, ha, ha. That's why we have recreated many of these completely fictitious scenarios, lies, that you've been fed over the last several years, into a hilarious VR game, in the hopes that we can finally move past these childish ghost stories and develop a new relationship with you, as well as your kids.  We do, however, ask that you agree to a simple waiver before you play. It's mostly just legal mumbo jumbo, and isn't at all based on user experiences thus far, or injuries associated with testing. Just touch the button to agree, and then we can jump right into some harmless fun that can't harm you at all in any harmful way. Thank you for playing the Freddy Fazbear Virtual Experience. Acknowledge that Fazbear Entertainment is not responsible for accidental digital consciousness transference, real-world manifestations of digital characters, nightmares, night terrors, night sweat. Welcome to the Freddy Fazbear Virtual Experience. Use the console in front of you to navigate the menu and pick one of the frightening experiences available. By completing these scenarios, more will become available. You'll see plenty of familiar faces, and some new ones as well. So stay a while, and have a good time. And remember, despite the temporary horror you may experience, this is a completely controlled environment, and you aren't in any real danger. Fazbear Entertainment not responsible for real danger. Please make a selection from the virtual menu. The only real risk to you as a night watcher there, if any, is the fact that these characters probably won't recognize you as a, or see you as a metal endoskeleton without its costume on. Now since that's against the rules here at Freddy Fazbear's Pizza, they'll probably try to forcefully stuff you inside a Freddy Fazbear suit. Now that wouldn't be so bad if the suits themselves weren't filled with moss, beans, wire, and especially around the facial. Are you having fun yet? That's great to hear. We went to great lengths to create an authentic VR experience, including using scanned photographs for reference and using original performance routines where applicable. Am I sad that it didn't record my audio? Yes, absolutely, but that is also my fault for not checking me if everything was, you know, recording everything. That is entirely my fault. But that doesn't mean I'm not excited for the rest of the game. This is, like I said, one of my, actually, I might have said it in the last recording when my audio cuts out, but I said somewhere that this is by far one of my favorite games period that I have ever played in my life. It is so, it's so freaking cool. And I know cool is a really bad adjective to use here, but it's unbelievably awesome. How about that? Is that better? There you go, that adverb and an adjective in there. Whoa! Look, I'm on fire. Yeah, it's just, it's so cool. And again, I apologize for this rocky start, but hopefully things will just keep going up and up. So thank everyone so much for watching and look forward to part two. I'm actually going to go record it right now after I upload this video. So thank everyone so much for watching and I will see you all at the flipside. Goodbye.