text: FADE IN: 3.1 INT. ELSINORE -- A ROOM IN THE CASTLE -- DAY Enter Claudius, Gertruda, Polonius, Ophelia, Rosencrantz, and Guildenstern. Ophelia still has her hair up, and is dressed in a slightly more provocative manner than has been usual for her. NARRATOR (V.O.) (whispers) Here they come: they'll get on to working out their next maneuver here. They think they're so smart. CLAUDIUS And can you by no drift of conference Get from him why he puts on this confusion, Grating so harshly all his days of quiet With turbulent and dangerous lunacy? ROSENCRANTZ He does confess he feels himself distracted, But from what cause a will by no means speak. GUILDENSTERN Nor do we find him forward to be sounded, But with a crafty madness keeps aloof When we would bring him on to some confession Of his true state. GERTRUDA Did he receive you well? ROSENCRANTZ (not sure; then confessing) Most like a gentlemen. GUILDENSTERN (elaborating) But with much forcing of his disposition. ROSENCRANTZ Scanty of question, but of our demands Most free in his reply. They all think a moment. GERTRUDA (cautiously) Did you assay him To any...pastime? ROSENCRANTZ Madam, it so fell out that certain players We o'ertook on the way. Of these we told him, And there did seem in him a kind of joy To hear of it. They are here about the court, And, as I think they have already order This night to play before him. POLONIUS 'Tis most true, And he beseech'd me to entreat your Majesties To hear and see the matter. CLAUDIUS With all my heart. NARRATOR (V.O.) That's what you think, pal. CLAUDIUS And it doth much content me To hear him so inclin'd. Good gentlemen, give him a further edge, And drive his purpose into these delights. ROSENCRANTZ We shall, my lord. Exit Rosencrantz and Guildenstern. CLAUDIUS Sweet Gertruda, leave us too, For we have closely sent for Hamlet hither, That he, as 'twere by accident, may here Affront Ophelia. Gertruda is shocked. CLAUDIUS (continuing) Her father and myself, lawful espials -- Gertruda starts to object to the scheme. CLAUDIUS We'll so bestow ourselves, that, seeing unseen, We may of their encounter frankly judge, (leaning to her) And gather by him, as he is behaved, If't be th'affliction of his love or no That thus he suffers for. GERTRUDA (caving in) I shall obey you. (to Ophelia) And for your part, Ophelia, I do wish That your good beauties be the happy cause Of Hamlet's wildness; so shall I hope your virtues Will bring him to his wonted way again, To both you honours. OPHELIA (under duress) Madam, I wish it may. Exit Gertruda. Claudius moves toward a hiding place, expecting Polonius to follow him. POLONIUS Ophelia, walk you here. (to Claudius) Gracious, so please you. (to Ophelia) Read on this book, That show of such an exercise may colour Your loneliness. Ophelia wanders off, with a heavy heart. Polonius is feeling guilty, at last. POLONIUS (aside) We are oft to blame in this, 'Tis too much prov'd, that with devotion's visage And pious action, we do sugar o'er The devil himself. CLAUDIUS (V.O.) (overhearing; aside) O 'tis too true. How smart a lash that speech doth give my conscience, The harlot's cheek, beautied with plast'ring art, INSERT Narrator made up as a harlot, and she blows us an outrageous lewd kiss. CLAUDIUS (V.O.) (continuing) Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden. NARRATOR (V.O.) And it's going to get heavier. I guarantee it. POLONIUS I hear him coming. Let's withdraw, my lord. They hide. NARRATOR (V.O.) (sotto voce) You better hide, you bastards. (aloud) All right, the rest of you, listen up. This is an important speech. Perhaps the most famous in all drama. Here it comes. Enter Hamlet. He's thinking deeply. HAMLET (to himself) To be, or not to be, that is the question: (aside) Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die -- to sleep, No more; and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to; 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep, perchance to dream -- ay, there's the rub: For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause -- there's the respect That makes calamity of so long life. For who would bear the whips and scorns of time, Th'oppressor's wrong, the proud man's contumely, The pangs of dispriz'd love, the law's delay, The insolence of office, and the spurns That patient merit of th'unworthy takes, When he himself might his quietus make With a bare bodkin? Who would hardships bear To grunt and sweat under a weary life, But that the dread of something after death, Th'undiscover'd country, from whose bourn No traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action. He pauses and listens for something. HAMLET (continuing) Soft you now, The fair Ophelia. Nymph, in thy orisons Be all my sins remember'd. NARRATOR (V.O.) All right Mac, hold it there. FREEZE FRAME. NARRATOR (V.O.) (continuing) Back up to the start of it. It REWINDS to the start of the scene. It reaches the start, and FREEZE FRAME. NARRATOR (V.O.) Go. The scene starts again, with much less volume on the dialogue. And moves more slowly. NARRATOR (V.O.) Well, he's been thinking, make no mistake...for all the good it will do him in the end. So let's see if we can make some sense of this. 'To be or not to be' looks straightforward enough, but it's a disputed passage. It's not just 'to live or die,' but rather how to live, and how to live well. Yet the majority opinion has been, and continues to be, that the speech as a whole is 'debate' by Hamlet (with himself) on the notion of suicide. Others prefer the idea he is reasoning out how to kill Claudius first, then himself. But in these cases we must always remember that this Shakespeare was capable of, and willing to, say more than one thing simultaneously: the so-called 'mots rayonnements' effect (first reported by Peter Brook, by the way). But more to the point is the clash between 'living' in a Christian manner -- that is, by forgiving injury, and on the other hand rather in the way his Germanic tribal ancestors lived: namely, to avenge a wrong no matter what. Rumblings and groanings heard from the audience. NARRATOR (V.O.) (continuing) Hold on, hold on. That's what he's getting into with all this 'nobler in the mind to suffer' jazz. But that's not all. Some have noted he is in no wise strictly confining his speech to his personal condition only, and is rather making observations on the state of fallen man generally. And there is much to be said for that point of view. More groanings. INSERT Hamlet slits Claudius's throat from behind with a knife. NARRATOR (V.O.) (continuing) But he really doesn't want to suffer: he wants justice. So this speech is mostly just talk, as we'll see later. (pause) Right: 'a consummation devoutly to be wished.' Here he's thinking of a way out of the trap, and thinks death might be the way; but he's also subconsciously floating his mind into Ophelia's sweet spot, hence his 'accidental' usage of the word 'consummation.' Ophelia, certainly, but also, need I add, his damn mother, too. You should see her with Claudius: when they get going, they really go. You know, it would make their animal ancestors proud to see it. Gertruda had her eye on Claudius for years, and especially after that Old Hamlet became impotent with prostate cancer. It happens. Well, now she's got what she wanted, and she's going to get what's coming to her, you'll see. A louder peal of groanings breaks over the scene. The Narrator whistles for quiet. NARRATOR (V.O.) (continuing) Well, back to Hamlet: 'that sleep of death what dreams may come,' uh-huh, 'When we have shuffled off this mortal coil.' He's not so sure he can escape trouble just by dying: how right he is. (sotto voce) You mother fucker. (aloud) 'Must give us pause...' all right. 'Whips and scorns of time,' of time, ha, ha, ha. 'The law's delay, the insolence of office,' and all that la-dee dah. And then there's 'When he himself might his quietus make, with a bare bodkin.' 'Bodkin' -- it doesn't mean 'little body' -- it INSERT Knife, gleaming under a strong light, suspended in the air. NARRATOR (V.O.) (continuing) means 'knife,' and 'bare' has been glossed as 'mere,' in addition to what looks superficially obvious: that is, 'unsheathed.' Could be both. But how about 'his quietus?' 'his' could refer to Hamlet, or, to Claudius. INSERT CLOSE UP of CLAUDIUS, who is gaping with terror. M.O.S. PULL BACK TO REVEAL HAMLET, grabbing him from behind, and stabbing him viciously in the back. NARRATOR (V.O.) (continuing) 'Quietus,' then, refers to a way out: here he's thinking of death: for himself and Claudius, and something tells me he's going to be right, when all is said and done. Then he uses the phrase 'grunt and sweat.' Back on Ophelia again. Yeah, grunting and sweating: he grunts and she sweats. Then he goes on, more timidly, 'the undiscovered country,' and then 'puzzles the will.' 'Puzzles:' in those days it didn't mean just confuse the will, it carried the idea of complete paralysis. He can't make up his mind. He was going strong there for awhile, but now he's had the chance to think things over, he's vacillating; he's chickening-out. He's not sure, even if he gains his revenge and gets away with it what will happen next. When he dies, that is. So, 'Thus conscience does make cowards of us all.' Members of the Germanic tribes of his lineage -- even the women -- indeed anybody on our side, would naturally jump to the conclusion that inaction in such a state as Hamlet finds himself would be due, solely due, to cowardice. That's what he himself is touching on here, although really it is due to the restraining influence of the Holy Spirit. That's what we have to tackle next. Even louder groans from the audience, subsiding slowly, as we hear, over: NARRATOR (V.O.) + HAMLET And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action. A BACKGROUND SCENE comes on: a FLASHFORWARD to the scene of Hamlet's burial. He's cast adrift on a ship with a pile of treasure under him. NARRATOR (V.O.) So he was convinced of his course through two acts, but now he's worried. He's lost the 'native hue of resolution' for our business. She appears in the BACKGROUND SCENE, dressed as a Priest: with her hair down and shaved back, like Horatio. ZOOM IN to BACKGROUND SCENE. NARRATOR (smiles) But we'll convince him of the rightness of it again. You'll see. She snaps her fingers. Hamlet's ship bursts into flame. THE CASTLE HAMLET Soft you now, The fair Ophelia. Nymph, in thy orisons Be all my sins remember'd NARRATOR (V.O.) (sotto voce) Prayers. 'Orisons' is prayers. This is a good scene too, scarcely less good than the other one. Ophelia steels herself, and glances around sheepishly. She moves to speak, then her nerve gives way, and she delivers her lines, but with an attitude of sensual longing. OPHELIA My lord, I have remembrances of yours That I have longed to redeliver. (wants to kiss him) I pray you now, receive them. Hamlet moves to kiss her, then shies away at the last second. HAMLET No, not I. I never gave you aught. Ophelia suffers an outburst of frustration and confusion. OPHELIA My honour'd lord, you know right well you did, And with them words of so sweet breath compos'd As made the things more rich. Hamlet circles around her in consternation. OPHELIA (continuing; recovering) Take these again; for to the noble mind Rich gifts wax poor when givers prove unkind. He makes no response, other than to continue circling. Ophelia throws the letters at him. OPHELIA (continuing) There, my lord. HAMLET Ha, ha. Are you honest. OPHELIA (hopeful) My lord? HAMLET (closing) Are you fair? Ophelia turns away at the last moment. OPHELIA What means you lordship? HAMLET (accusing) That if you be honest and fair, your honesty should admit no access to your beauty. OPHELIA (turning; hopeful) Could beauty, my lord, have better commerce than with honesty? HAMLET Ay, truly, for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness. (aside) This was sometime a paradox, but now the time gives it proof. (to Ophelia) I did love you once. OPHELIA (moved) Indeed, my lord, you made me believe so. HAMLET You should not have believed me; for virtue cannot so inoculate our old stock that we should savor it. OPHELIA (crushed) I was deceived. Hamlet kisses her on the forehead. Ophelia embraces him with all her might. HAMLET (sotto voce) Get thee to a nunnery. She hugs him with a sensual passion. HAMLET (continuing; aloud; moving away) Why, wouldst thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not borne me. I am very proud, revengeful, ambitious, with more offences at my beck... Ophelia, overcome with longing, moves to him. Hamlet evades her as if she were a charging bull. HAMLET (continuing) ...that I have thoughts to put them in, imagination to give them shape, or time to act them in. She lunges and embraces him. HAMLET (continuing; aside) What should such fellows as I do crawling between earth and heaven? (to Ophelia) We are arrant knaves all, believe none of us. They kiss. Ophelia looks at him lovingly, and then around to the room. Hamlet breaks off the embrace in despair. HAMLET Go thy ways to a nunnery. INSERT Claudius and Polonius. Hamlet, suspicions aroussed by Ophelia's glance at the room, looks around, and then addresses Ophelia. HAMLET (sotto voce) Where's your father? OPHELIA (looking away) At home, my lord. HAMLET (aloud) Let the doors be shut upon him, that he may play the fool nowhere but in's own house. (to Ophelia) Farewell. Ophelia covers her ears, and shrieks. OPHELIA O help him, you sweet heavens! HAMLET If thou dost marry, I'll give thee this plague for thy dowry: be thou as chaste as ice, as pure as snow, thou shalt not escape calumny. Get thee to a 'nunnery.' Farewell. He moves to go, then thinks of something. HAMLET (continuing) Or if thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them. She rushes to him in desperation. Hamlet peers around the room. HAMLET (more softly) To a nunnery, go. And quickly, too. Farewell. He releases her. She collapses to the floor. OPHELIA (screams) HEAVENLY POWERS RESTORE HIM! She weeps. Hamlet is enraged. HAMLET (to Ophelia) I have heard of your paintings well enough. God hath given you one face and you make yourselves another. You jig and amble, and you lisp, you nickname God's creatures, and you make your wantonness your ignorance. Go to, I'll no more on't... (aside) ...it hath made me mad. (to the room; shouts) I say we will have no more marriage. Those that are married already... (aside) ...all but one... (to the room) shall live; the rest shall keep as they are! (to Ophelia; flat) To a nunnery, go. Exit Hamlet. OPHELIA (to herself; between sniffles) O, what a noble mind is here o'erthrown. The courtier's, soldier's, scholar's eye, tongue, sword, Th'expectancy and rose of the fair state, The glass of fashion and the mould of form, Th'observ'd of all observers, quite, quite down. (aside) And I, of ladies most deject and wretched, That suck'd the honey of his music vows, Now see that noble and most sovereign reason Like sweet bells jangled out of tune and harsh, That unmatch'd form and feature of blown youth Blasted with ecstasy. O woe is me. T'have seen what I have seen, see what I see. NARRATOR (V.O.) It is done. We have them now. Enter King and Polonius. Claudius is rattled. Polonius comforts his daughter, who continues to weep. CLAUDIUS (to Polonius) Love? His affections do not that way tend, Nor what he spake, though it lack'd form a little, Was not like madness. (to himself) There's something in his soul O'er which his melancholy sits on brood, And I do dread the hatch and the disclose Will be some danger; which for to prevent, I have in quick determination (calming down; aside) Thus set it down: he shall with speed to England For the demand of our neglected tribute. Perhaps the seas and countries different, With variable objects, shall expel This something settled matter in his heart, Whereon his brains still beating puts him thus From fashion of himself. (to Polonius) What think you on't? Polonius is almost feeling sorry for what he has done, and speaks more softly than usual. POLONIUS (to Claudius) It shall do well. But yet do I believe The origin and commencement of his grief Sprung from neglected love. Ophelia cries more stridently, and clings to Polonius's legs. POLONIUS (continuing; to Ophelia) How now, Ophelia? You need not tell us what Lord Hamlet said, We heard it all. (to Claudius) My lord, do as you please, But if you hold it fit, after the play Let his queen-mother all alone entreat him To show his grief, let her be strict with him, And I'll be plac'd, so please you, in the ear Of all their conference. If she find him not, To England send him; or confine him where Your wisdom best shall think. CLAUDIUS It shall be so. (aside) Madness in great ones must not unwatch'd go. 3.2 INT. ELSINORE -- THRONE ROOM -- NIGHT Enter Hamlet and three of the Players. HAMLET Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it as many of your players do, I had as rather the town crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings... (aside) ...who for the most part are capable of nothing but inexplicable dumb-shows and noise. (to the Players) I would have such a fellow whipped for o'erdoing Termagant. It out-Herods Herod. Pray you avoid it. PLAYER 1 I warrant you honour. HAMLET Be not too tame neither, but let your own discretion be your tutor. Suit the action to the word, the word to the action, with this special observance, that you o'erstep not the modesty of nature. For anything so o'erdone is from the purpose of playing, whose end, both at the first and now, was and is to hold as 'twere the mirror up to nature; to show virtue her feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone or come tardy off, though it makes the unskilful laugh, cannot but make the judicious grieve, the censure of the which one must in your allowance o'erweigh a whole theatre of others. O, there be players that I have seen play -- and heard others praise, and that highly -- not to speak profanely, that neither having the'accent of Christians, nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of Nature's journeymen had made men, and not made them well, they imitated humanity so abominably. PLAYER 1 I hope we have reformed that indifferently with us. HAMLET O reform it altogether. And let those that play your clowns speak no more than is set down for them -- for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too, though in the meantime some necessary question of the play be then to be considered. That's villainous, and shows a most pitiful ambition in the fool that uses it. The three Players bow to Hamlet. HAMLET (continuing) Go make you ready. Exit Players. Enter Polonius, Rosencrantz, and Guildenstern HAMLET How now, my lord? Will the King hear this piece of work? POLONIUS And the Queen too, without delay. HAMLET Bid the Players make haste. Exit Polonius. Hamlet eyes Rosencrantz and Guildenstern, who, for their part, make no overture of friendliness. HAMLET Will you two help to hasten them? ROSENCRANTZ Ay, my lord. Guildenstern would have refused, left to his own devices. Exit Rosencrantz and Guildenstern. Enter Horatio. HAMLET What ho, Horatio. HORATIO Here, sweet lord, at your service. HAMLET Horatio, thou art e'en as just a man As e'er my conversation joined withal. Horatio is moved by the sexual reference. HORATIO O my dear lord. HAMLET Nay, do not think I flatter. For what advancement may I hope from thee That no revenue has but thy good spirits To feed and clothe thee? (aside) Why should the poor be flatter'd? No let the candied tongue lick absurd pomp, And crook the pregnant hinges of the knee Where thrift may follow fawning. (to Horatio) Dost thou hear? Since my dear soul was mistress of her choice, And could of men distinguish her election, She hath seal'd thee for herself; for thou hast been As one, in suff'ring all, that suffers nothing, A man that Fortune's buffets and rewards Hast ta'en with equal thanks; and blest are those Whose blood and judgment are so well confirmed That they are not a pipe for Fortune's finger To sound what stop she please. (aside) Give me that man That is not passion's slave, and I will wear him In my heart's core,... (to Horatio) ...ay, in my heart of heart, As I do thee. (aside) Something too much of this. (to Horatio) There is a play tonight before the King: One scene of it comes near the circumstance Which I have told thee of my father's death. I prithee, when thou seest that act afoot, Even with the very comment of thy soul Observe my uncle. If his occulted guilt Do not itself in a certain speech reveal, (aside) It is a damned ghost that we have seen, (to Horatio) And my imaginations are as foul As Vulcan's smithy. Give him heedful note; For I mine eyes will rivet to his face, And after we will both our judgments join In censure of his seeming. HORATIO Well, my lord. If he steal aught the while the play is playing, And scape detecting, I will pay the theft. Enter TRUMPETS AND KETTLEDRUMS and SOUND A FLOURISH. HAMLET They are coming to the play. I must be idle. Get you a place. Horatio moves away a little. Enter King, Queen, Polonius, Ophelia, Rosencrantz, Guildenstern, and OTHER LORDS attendant, with the King's Guard carrying torches. Claudius does a good job of pretending to be friendly, even after he notices Hamlet staring at him. CLAUDIUS How fares our cousin Hamlet? HAMLET Excellent, i'faith, of the chameleon's dish. I eat the air, promise-crammed. You cannot feed capons so. A barb. A definite barb. CLAUDIUS I have nothing with this answer, Hamlet. These words are not mine. HAMLET No, nor mine now. (to Polonius) My lord, you played once i'thi'university, you say? POLONIUS That did I, my lord, and was accounted a good actor. HAMLET What did you enact? POLONIUS Julius Caesar. I was killed in the Capitol. Brutus killed me. HAMLET It was a brute part of him to kill so capitol a calf there. (pause; aloud) Be the players ready? Rosencrantz appears from within, where he was spying on the actors. ROSENCRANTZ Ay, my lord, they stay upon your patience. GERTRUDA Come hither, my dear Hamlet, sit by me. HAMLET No, good mother, here's mettle more attractive. He shifts position to be next to Ophelia, puts his arms around her and gives her a big fat kiss. POLONIUS (to Claudius) O ho. Do you mark that? HAMLET Lady, shall I lie in your lap? OPHELIA (definite if not offended) No, my lord. HAMLET I mean, my head upon your lap. OPHELIA (checking Polonius) Ay, my lord. HAMLET Did you think I meant cunt-ry matters? OPHELIA I think nothing, my lord. HAMLET That's a fair thought to lie between a maid's legs. OPHELIA What is, my lord? Makes a zero with his hands. HAMLET Nothing. OPHELIA (warming at last) You are merry, my lord. HAMLET Who, I? OPHELIA Ay, my lord. HAMLET O God, your only jig maker. What should a man do but be merry? (to Ophelia) For look you how cheerfully my mother looks and my father died within's two hours. OPHELIA Nay, 'tis twice two months, my lord. HAMLET (way aloud) So long? Nay then, let the devil wear black, for I'll have a suit of sables. O heavens, die two months ago and not forgotten yet. Then there's hope a great man's memory may outlive his life half a year. (to Ophelia) But by'r lady a must build churches then, or else shall a suffer not thinking on, with the hobby-horse, whose epitaph is, 'For O, for O, (poking her) the hobby-horse is forgot.' The trumpets sound. A dumb-show follows. Enter a KING, dressed as Old Hamlet, and a QUEEN dressed as Gertruda was the day before, the Queen embracing him and he her. She kneels, and makes show of protestation unto him. He takes her up, and declines his head upon her neck. He lies him down upon a bank of flowers. She, seeing him asleep, leaves him. Anon comes in another MAN (LUCIANUS) dressed as Claudius, takes off his crown, kisses it, pours poison in the sleeper's ears, and leaves him. The Queen returns, finds the King dead, makes passionate action. The Poisoner with some THREE or FOUR comes in again. They seem to condole with her. The dead body is carried away. The Poisoner woos the Queen with gifts. She seems harsh awhile, but in the end accepts his love. Exeunt. Hamlet has his attention on Claudius the whole time. Both Claudius and Gertruda are becoming nervous. OPHELIA What means this, my lord? HAMLET Marry, this is miching malicho. It means mischief. OPHELIA Belike this show imports the argument of the play. Enter PROLOGUE HAMLET We shall know by this fellow. The players cannot keep counsel: they'll tell all. OPHELIA Will a tell us what this show meant? HAMLET Ay, or any show that you will show him. Be not you ashamed to show, he'll not shame to tell you what it means. OPHELIA (amused) You are naught. You are naught. (remembering Polonius) I'll mark the play. PROLOGUE For us and for our tragedy, Here's stooping to your clemency, We beg your hearing patiently. HAMLET (to Prologue) Is this the prologue, or the posy of a ring? OPHELIA 'Tis brief, my lord. HAMLET (to Ophelia) As woman's love. Enter the Player King and Queen. PLAYER KING Full thirty times hath Phoebus' cart gone round Neptune's salt wash and Tellus' orbed ground, And thirty dozen moons with borrow'd sheen About the world have times twelve thirties been Since love our hearts and Hymen did our hands Unite commutual in most sacred bands. PLAYER QUEEN So many journeys may the sun and moon Make us again count o'er ere love be done. But woe is me, you are so sick of late, So far from cheer and from your former state, That I distrust you. Yet though I distrust, Discomfort you, my lord, it nothing must; For women's fear and love hold quantity, In neither aught, or in extremity. Now what my love is, proof hath made you know, And as my love is siz'd, my fear is so. Where love is great, the littlest doubts are fear; Where little fears grow great, great love grows there. PLAYER KING Faith, I must leave thee, love, and shortly too: My operant powers their functions leave to do; And thou shalt live in this fair world behind, Honour'd, belov'd; and haply one as kind For husband shalt thou -- PLAYER QUEEN O confound the rest. Such love must needs be treason in my breast. In second husband let me be accurst; None wed the second but who kill'd the first. HAMLET (to Claudius) That's wormwood. PLAYER QUEEN The instances that second marriage move Are base respects of thrift, but none of love. A second time I kill my husband dead, When second husband kisses me in bed. PLAYER KING I do believe you think what now you speak; But what we do determine, oft we break. Purpose is but the slave of memory, Of violent birth but poor validity, Which now, the fruit unripe, sticks on the tree, But fall unshaken when they mellow be. Most necessary 'tis that we forget To pay ourselves what to ourselves is debt. What to ourselves in passion we propose, The passion ending, doth the purpose lose. The violence of either grief or joy Their own enactures with themselves destroy. Where joy most revels grief doth most lament; Grief joys, joy grieves, on slender accident. The world is not for aye, nor 'tis not strange That even our loves should with our fortunes change, For 'tis a question left us yet to prove, Whether love lead fortune or else fortune love. The great man down, you mark his favorite flies; The poor advanc'd makes friends of enemies; And hitherto doth love on fortune tend: For who not needs shall never lack a friend, And who in want a hollow friend doth try Directly seasons him his enemy. But orderly to end where I begun, Our wills and fates do so contrary run That our devices still are overthrown: Our thoughts are ours, their ends none of our own. So think thou wilt no second husband wed, But die thy thoughts when thy first lord is dead. INSERT Claudius and Gertruda, both mortified. PLAYER QUEEN Nor earth to me give food, nor heaven light, Sport and repose lock from me day and night, To desperation turn my trust and hope, An anchor's cheer in prison be my scope, Each opposite, that blanks the face of joy, Meet what I would have well and it destroy, Both here and hence pursue me lasting strife, If, once a widow, ever I be a wife. HAMLET (to Gertruda) If she should break it now. PLAYER KING 'Tis deeply sworn. Sweet, leave me here awhile. My spirits grow dull, and fain I would beguile The tedious day with sleep. PLAYER QUEEN Sleep rock thy brain, And never come mischance between us twain. Exit Queen. King sleeps. HAMLET (to Gertruda) Madam, how like you this play? GERTRUDA The lady doth protest too much, methinks. HAMLET But she'll keep her word. CLAUDIUS Have you heard the argument? Is there no offence in it? HAMLET No, no, they do but jest -- poison in jest. No offence i'th'world. CLAUDIUS (carefully) What do you call the play? HAMLET The Mousetrap. Marry, how tropically. This play is the image of a murder done in Vienna, (aside) Gonzago is the Duke's name, his wife Baptista, (to Claudius) you shall see anon. 'Tis a knavish piece of work, but what o'that? Your Majesty, and we that have free souls, it touches us not. Let the galled jade wince, our withers are unwrung. Enter Lucianus. He stalks around the Player King ominously, and surveys the scene, trying to nerve himself to go through with it. HAMLET (continuing) This is one Lucianus, nephew to the King. OPHELIA You are as good as a chorus, my lord. HAMLET I could interpret between you and your love if I could see the puppets dallying. OPHELIA You are keen, my lord, you are keen. HAMLET (looking around to Claudius) It would cost you a groaning to take off my edge. He glances at Polonius, who is rapt with attention on the play. Ophelia is actually starting to enjoy herself. This is all the more goad to Hamlet, who now is on the verge of losing his patience at last. OPHELIA Still better, and worse. HAMLET (to Ophelia) So you mis-take your husbands. (shouts to Lucianus) Begin, murderer. Leave thy damnable faces and begin! Come, the croaking raven doth bellow for revenge! LUCIANUS Thoughts black, hands apt, drugs fit, and time agreeing, Confederate season, else no creature seeing, Thou mixture rank, of midnight weeds collected, With Hecate's ban thrice blasted, thrice infected, Thy natural magic and fire property On wholesome life usurps immediately. He pours the poison in the sleeper's ear. HAMLET (to Claudius) A poisons him i'th'garden for his estate. His name's Gonzago. The story is extant, and written in very choice Italian. You shall see anon how the murderer gets the love of Gonzago's wife. Claudius rises. All eyes are on him. OPHELIA The King rises. HAMLET (to himself) What, frighted with false fire? GERTRUDA How fares my lord? POLONIUS Give o'er the play. CLAUDIUS Give me some light. Exit Claudius. The crowd realizes Claudius's guilt, and they rush out of the room. Various ad lib shouts, including 'Away' from the spectators. POLONIUS (in vain) Lights! Lights! Lights! HAMLET (to himself) Why, let the stricken deer go weep, The hart ungalled play; For some must watch while some must sleep, Thus runs the world away. (to Horatio) Would not this, sir, and a forest of feathers, if the rest of my fortunes turn Turk with me, with Provincial roses on my razed shoes, get me a fellowship in a band of players? HORATIO Half a share. HAMLET A whole one, I. (to himself) For dost thou know, O Damon dear, This realm dismantled was Of Jove himself, and now reigns here A very, very...pajock. HORATIO You might have rhymed. HAMLET O good Horatio, I'll take the Ghost's word for a thousand pound. Didst perceive? HORATIO Very well, my lord. Hamlet embraces Horatio in fear. Horatio tries to comfort him. HAMLET Upon the talk of poisoning? HORATIO I did very well note him. Hamlet is much moved, almost to madness, and quietly delivers his following lines. HAMLET Ah, ha! Come, some music; come, the recorders. For if the King like not the comedy, why then, belike he likes it not, perdie. Come, some music. Enter Rosencrantz and Guildenstern with severity. GUILDENSTERN (carefully) Good my lord, vouchsafe me a word with you. HAMLET Sir, a whole history. GUILDENSTERN The King, sir -- HAMLET (angry) Ay, sir, what of him? GUILDENSTERN (controlling himself) Is in his retirement marvellous distempered. HAMLET With drink, sir? Guildenstern almost loses his composure, but then controls himself once again. GUILDENSTERN No, my lord, with choler. HAMLET Your wisdom should show itself more richer to signify this to the doctor, for for me to put him to his purgation would perhaps plunge him into more choler. GUILDENSTERN (almost irritated) Good my lord, put your discourse into some frame, and swerve not so wildly from my meaning. HAMLET I am tame, sir. Pronounce. GUILDENSTERN The Queen your mother, in most great affliction of spirit, hath sent me to you. HAMLET You are welcome. GUILDENSTERN (exasperated) Nay, good my lord, this courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother's commandment; if not, your pardon and my return shall be the end of my business. HAMLET Sir, I cannot. GUILDENSTERN What, my lord? HAMLET Make you a wholesome answer. My wit's diseased. Guildenstern is about to say something else, again in exasperation, but Hamlet suddenly has pity on him. HAMLET (continuing) But sir, such answer as I can make, you shall command -- or rather, as you say, my mother. Therefore no more, but to the matter. My mother, you say -- ROSENCRANTZ (putting his foot down) Then thus she says: your behaviour hath struck her into amazement and admiration. HAMLET (angry again) O wonderful son, that can so 'stonish a mother! But is there no sequel at the heels of this mother's admiration? Impart. ROSENCRANTZ (angry in turn) She desires to speak with you in her chamber ere you go to bed. HAMLET We shall obey, were she ten times our mother. Hamlet walks away, then thinks better of it. HAMLET (continuing) Have you any further trade with us? ROSENCRANTZ (a put on) My lord, you once did love me. HAMLET (grasping his hands) And still do, by these pickers and stealers. ROSENCRANTZ Good my lord, what is your cause of distemper? You do surely bar the door upon your own liberty if you deny your griefs to your friend. Hamlet is wondering whether he is being watched, and gazes around the room. HAMLET Sir, I lack advancement. ROSENCRANTZ How can that be, when you have the voice of the King himself for your succession in Denmark? HAMLET Ay, sir, but while the grass grows...the proverb is somewhat musty. Enter the Players with recorders. HAMLET (continuing) O, the recorders. Let me see one. (to Guildenstern) To withdraw with you. (moving away) Why do you go about to recover the wind of me, as if you would drive me into a trap? GUILDENSTERN O my lord, if my duty be too bold, my love is too unmannerly. Hamlet turns that over in his mind, running through three different senses. Then: HAMLET I do not well understand that. (pause) Will you play upon this pipe? GUILDENSTERN My lord, I cannot. HAMLET I pray you. GUILDENSTERN Believe me, I cannot. HAMLET I do beseech you. GUILDENSTERN I know no touch of it, my lord. HAMLET (demonstrating) It is as easy as lying. Govern these ventages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops. GUILDENSTERN But these cannot I command to any utterance of harmony. I have not the skill. Hamlet shoves him up against the wall. Rosencrantz takes a step forward, then stops. HAMLET (furious) Why, look you now, how unworthy a thing you make of me. You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass; and there is much music, excellent voice, in this little organ, yet cannot you make it speak. (releasing him) 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you fret me, you cannot play upon me. He throws the recorder, like Bobby Knight throwing a chair, narrowly missing Rosencrantz, who ducks. It clatters down the hall, skipping past the entering Polonius. HAMLET (softening) God bless you, sir. POLONIUS My lord, the Queen would speak with you. Very now. HAMLET (irritated again) Do you see yonder cloud that's almost in shape of a camel? Polonius attempts to humor Hamlet once again, but now feeling disgusted with the charade, and makes grimaces of impatience aside. POLONIUS By th'mass and 'tis -- like a camel indeed. HAMLET Methinks it is like a weasel. POLONIUS It is backed like a weasel. HAMLET Or like a whale. POLONIUS Very like a whale. HAMLET Then I will come to my mother very now. (aside) They provoke me to the limit. (to Polonius) I'll be right there. POLONIUS I will say so. Exit Polonius. HAMLET (aside) Very now is easily said. (to Guildenstern) Leave me, friends. Rosencrantz is about to object, but Guildenstern prudently leads him away. HAMLET (continuing; aside) 'Tis now the very witching time of night, When churchyards yawn and hell itself breathes out Contagion to this world. Now could I drink hot blood, And do such bitter business as the day Would quake to look on. Soft, now to my mother. (to himself; thinks again) O heart, lose not thy nature. Let not ever The soul of Nero enter this firm bosom; Let me be cruel, not unnatural. (aside) I will speak daggers to her, but use none. My tongue and soul in this be hypocrites: How in my words somever she be shent, To give them seals never my soul consent. EXT. ELSINORE -- AERIAL SHOT -- NIGHT 3:3 INT. ELSINORE -- THRONE ROOM -- NIGHT Enter Claudius, Rosencrantz, and Guildenstern. Guildenstern has just given Claudius his report, and Claudius, outwardly recovered from his fit, now contemplates his next action. CLAUDIUS I like him not, nor stands it safe with us To let his madness range. Therefore prepare you. I your commission will forthwith dispatch, And he to England shall along with you. The terms of our estate may not endure Hazard so near us as doth hourly grow Out of his brows. GUILDENSTERN We will ourselves provide. Most holy and religious fear it is To keep those many bodies safe That live and feed upon your Majesty. ROSENCRANTZ (kneeling) The single and peculiar life is bound With all the strength and armour of the mind To keep itself from 'noyance; but much more That spirit upon whose weal depends and rests The lives of many. The cess of majesty Dies not alone, but like a gulf doth draw What's near it with it. Or it is a massy wheel Fix'd on the summit of the highest mount, To whose huge spokes ten thousand lesser things Are mortis'd and adjoin'd, which when it falls, Each small annexment, petty consequence, Attends the boist'rous ruin. Never alone Did the King sigh, but with a general groan. CLAUDIUS Arm you, I pray you, to this speedy voyage, For we will fetters put about this fear Which now goes too free-footed. ROSENCRANTZ We will haste us. Exeunt Rosencrantz and Guildenstern. Enter Polonius. POLONIUS My lord, he's going to his mother's chamber. Behind the arras I'll convey myself To hear the process. I'll warrant she'll tax him home, And as you said -- and wisely was it said -- 'Tis meet that some more audience than a mother, Since nature makes them partial, should o'erhear The speech of vantage. (more slowly) Fare you well, my liege. I'll call upon you ere you go to bed, And tell you what I know. CLAUDIUS Thanks, dear my lord. EXT. ELSINORE -- THE BATTLEMENTS -- NIGHT There is a swirling fog. The Dragon materializes, flying straight towards us, and lands on a parapet. REVERSE ANGLE One down into the castle. NARRATOR (V.O.) This is my favorite part. Our POV rushes forward into the castle, past many rooms, to: INT. ELSINORE -- CHAPEL -- NIGHT Claudius is standing there, deep in thought. CLAUDIUS (aside) O, my offence is rank, it smells to heaven; It hath the primal eldest curse upon't: A brother's murder. Pray can I not, Though inclination be as sharp as will, My stronger guilt defeats my strong intent, And, like a man to double business bound, I stand in pause where I shall first begin, And both neglect. What if this cursed hand Were thicker than itself with brother's blood, Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offence? And what's in prayer but this twofold force, To be forestalled ere we come to fall Or pardon'd being down? (turns to altar) Then I'll look up. (to himself) My fault is past -- but O, what form of prayer Can serve my turn? NARRATOR (V.O.) (sotto voce) You got that right, pal. CLAUDIUS Forgive me my foul murder? That cannot be, since I am still possess'd Of those effects for which I did the murder: My crown, mine own ambition, and my queen. NARRATOR (V.O.) (sotto voce) Come on, boy, here he is, you've got him. CLAUDIUS May one be pardon'd and retain th'offence? NARRATOR (V.O.) Not where I come from. (sotto voce) Come on, boy. CLAUDIUS (aside) In the corrupted currents of this world Offence's gilded hand may shove by justice, And oft 'tis seen the wicked prize itself Buys out the law. But 'tis not so above: There is no shuffling, there the action lies In his true nature, and we ourselves compell'd Even to the teeth and forehead of our faults To give in evidence. FLASHBACK Claudius and Polonius stand on the Battlements, amazed, and illuminated by an intense white light. END FLASHBACK INT. ELSINORE -- PASSAGEWAY -- NIGHT Hamlet hurrying along the passage. NARRATOR (V.O.) (sotto voce) Come on, boy, this way, that's right. Now through that door. You've got him. Hurry up, hurry up. INT. ELSINORE -- CHAPEL -- NIGHT CLAUDIUS (V.O.) What then? What rests? Try what repentance can. What can it not? Yet what can it, when one cannot repent? O wretched state! CLAUDIUS (to cross) O bosom black as death! O limed soul, that struggling to be free Art more engaged. NARRATOR (V.O.) (sotto voce) Hurry up, hurry up, come on. It's now or never, boy, quick, your sword. THE PASSAGEWAY Hamlet sees Claudius in front of the altar. CLAUDIUS Help, angels! CLAUDIUS (V.O.) Make assay. He clasps his hands together, closes his eyes, and prays. NARRATOR (V.O.) (sotto voce) There he is, there he is. Steady. You can do it. Draw your sword, before it's too late. Hamlet draws his sword. CLAUDIUS (V.O.) (kneeling) Bow, stubborn knees; and heart with strings of steel, Be soft as sinews of the newborn babe. All may be well. NARRATOR (V.O.) (sotto voce) Do it. Do it now. HAMLET (aside) Now might I do it pat. NARRATOR (V.O.) (sotto voce) Yes. Do it. Run him through. Now. HAMLET (aside) Now he is a praying. Hamlet walks right up to Claudius and rears back, about to run him through. NARRATOR (V.O.) Get him. Get him. HAMLET (to Claudius) And now I'll do it. He hesitates. NARRATOR (V.O.) What are you waiting for? Do it, before it's too late. Before he repents. DO IT NOW. HAMLET (aside) And so a goes to heaven; And so am I revenged. (to himself) That would be scanned. He steps back and thinks. NARRATOR (V.O.) Kill the mother-fucker! HAMLET (aside) A villain kills my father, and for that I, his sole son, do this same villain send To heaven. (pause) Why, this is hire and salary, not revenge. A took my father grossly, full of bread, With all his crimes broad blown, as flush as May, And how his audit stands who knows save God? But in our circumstance and course of thought 'Tis heavy with him. NARRATOR (V.O.) KILL HIM! HAMLET (aside) And am I then reveng'd, To take him in the purging of his soul, When he is fit and seasoned for his passage? (pause) No. NARRATOR (V.O.) WHAT? HAMLET (to sword) Up, sword, and know thou a more horrid hent: NARRATOR (V.O.) Boy, listen to me -- HAMLET (aside) When he is drunk asleep, or in his rage, Or in th'incestuous pleasure of his bed, At game a-swearing, or about some act That has no relish of salvation in't, Then trip him, that his heels may kick at heaven And that his soul may be as damn'd and black As hell whereto it goes. NARRATOR (V.O.) Uuuuhhhh. Ohhh! Ohh, ohh! HAMLET (to himself) My mother waits. NARRATOR (V.O.) Ohhhhhhh. You're sparing his life so that he'll find damnation later. Oh. That's my boy! Ohh. You do have potential, don't you. Oh, yes. Oh. Ahhhh....Ohh... HAMLET (to Claudius) This physic but prolongs thy sickly days. Exit Hamlet. CLAUDIUS (aside) My words fly up, my thoughts remain below. Words without thoughts never to heaven go. Exit Claudius. The sounds of the Narrator's continuing orgasm fade away. FADE OUT. TITLE: THE DIRECTOR FROM HELL FADE IN: 3:4 INT. ELSINORE -- GERTRUDA'S CHAMBER -- NIGHT She has a large room on a corner, with windows. Enter Gertruda and Polonius. POLONIUS A will come straight. Look you lay home to him, Tell him his pranks have been too broad to bear with And that your Majesty hath screen'd and stood between -- NARRATOR (O.S.) Grace. Your Grace hath screen'd. Polonius and Gertruda stop, then return to their starting point. NARRATOR (O.S.) From the top. Camera. A SLATE MAN appears with a slate. SLATE MAN Hamlet. Act three, Scene four. Take five. NARRATOR (O.S.) Action. POLONIUS A will come straight. Look you lay home to him, Tell him his pranks have been too broad to bear with And that your Grace hath screen'd and stood between Much heat and him. I'll silence me even here. Pray you be round. GERTRUDA (superior) I'll warn't you, fear me not. Withdraw, I hear him coming. Polonius hides behind the arras. Enter Hamlet, hopping mad. HAMLET Now, mother, what's the matter? GERTRUDA (imperious) Hamlet, thou hast thy father much offended. HAMLET Mother, you have my father much offended. GERTRUDA (angry) Come, come, you answer with an idle tongue. HAMLET (half-crazed) Go, go, you question with a wicked tongue. GERTRUDA (more angry) Why, how now, Hamlet? HAMLET (eyes wide) What's the matter now? NARRATOR (O.S.) Roll 'em. Crazier. HAMLET (crazy) What's the matter now? GERTRUDA (massively indignant) Have you forgot me? HAMLET (all the way insane) No, by the rood, not so. INSERT The crucifix in the chapel. HAMLET (continuing) You are the Queen, your husband's brother's wife, And, would it were not so, you are my mother. GERTRUDA (decisive) Nay, then I'll set those to you that can speak. She whirls and begins to stride out of the room. Hamlet draws his sword with a clang, grabs her by the arm, twists her, throws her into a chair, and holds the sword to her throat. HAMLET Come, come, and sit you down, you shall not budge. You go not till I set you up a glass Where you may see the inmost part of you!! GERTRUDA (shrieks) What wilt thou do? Thou wilt not murder me? Help, ho! POLONIUS (O.S.) What ho! Help! HAMLET How now? A rat! Dead for a ducat. Dead. He thrusts his rapier through the arras. Polonius groans, and falls. NARRATOR (O.S.) Cut. What are you doing? Stab him, God damnit. This is the fourth time you've done that. From 'What wilt thou do.' Camera. Hamlet glares at the Narrator's position. He swishes the sword twice, and mutters. SLATE MAN Hamlet, Act three, scene four, Take six. NARRATOR (O.S.) Action. GERTRUDA (shrieks) What wilt thou do? Thou wilt not murder me? Help, ho! POLONIUS (O.S.) What ho! Help! HAMLET How now? A rat! Dead for a ducat. Dead. He thrusts his rapier through the arras again, with all his strength. Polonius yells, then groans, and falls forward through the arras. Two PRODUCTION ASSISTANTS SCREAM off. One of them rushes out to Polonius. PRODUCTION ASSISTANT Oh no! Oh no! GRIP (O.S.) An ambulance! PRODUCTION ASSISTANT He needs a hospital! NARRATOR (O.S.) Shut up! He isn't going to the hospital, he's going to hell with the rest of his kind. Get out of there. Hamlet, keep going. The Production Assistant moves off. NARRATOR (O.S.) (continuing) 'O, I am slain.' Keep going. GERTRUDA O me, what hast thou done? HAMLET Nay, I know not. Is it the King? Hamlet moves closer to Polonius. GERTRUDA O, what a rash and bloody deed is this. HAMLET A bloody deed. Almost as bad, good mother, As kill a king and 'marry' with his brother. GERTRUDA As kill a king? HAMLET Ay, lady, it was my word. (to Polonius) Thou wretched, rash, intruding fool, farewell. I took thee for thy better. Take thy fortune: Thou find'st to be too busy is some danger. (to Gertruda) Leave wringing of your hands. Peace. Sit you down. And let me wring your heart; for so I shall If it be made of penetrable stuff, If damned custom have not braz'd it so, That it be proof and bulwark against sense. GERTRUDA What have I done, that thou dar'st wag thy tongue In noise so rude against me? Hamlet, doing very well up to now, becomes rattled, loses his concentration and starts shouting his lines rather mechanically. HAMLET Such an act That blurs the grace and blush of modesty, Calls virtue hypocrite, takes off the rose From the fair forehead of an innocent love And sets a blister there, makes marriage vows As false as dicer's oaths. O, such a deed As from the body of contraction plucks The very soul, and sweet religion makes A rhapsody of words. Heaven's face does glow O'er this solidity and compound mass With tristful visage, as against the doom, Is thought-sick at the act. NARRATOR (O.S.) (whispers) That makes no sense whatsoever. GERTRUDA Ay me, what act That roars so loud and thunders in the index? HAMLET Look here upon this picture, and on this, The counterfeit presentment of two brothers. See what a grace was seated on this brow, Hyperion's curls, the front of Jove himself, An eye like Mars to threaten and command, A station like the herald Mercury New-lighted on a heaven-kissing hill, A combination of and a form indeed Where every god did seem to set his seal To give the world assurance of a man. This was your husband. Look you now what follows. Here is your husband, like a mildew'd ear Blasting his wholesome brother. Have you -- NARRATOR (O.S.) Cut. Cut. It's not working. You're not convincing her. You're coloring everything with an amorphous anger. Again. From 'Look here upon this picture.' Camera. SLATE MAN Hamlet, Act three. Scene four. Take seven. NARRATOR (O.S.) Action. HAMLET Look here upon this picture, and on this, The counterfeit presentment of two brothers. See what a grace was seated on this brow, Hyperion's curls, the front of Jove himself, An eye like Mars to threaten and command, A station like the herald Mercury -- NARRATOR (O.S.) Cut! HAMLET (to Narrator) What is it now? NARRATOR (O.S.) It's not natural. HAMLET (to Narrator) What do you mean it's not natural? He's angry. NARRATOR (O.S.) Listen, you worthless little epitomizing shit: he's angry all right, and in a minute you're going to find out there's someone else who -- oh, hell with it. You want the audience to believe this? Then you have to go down: way down, past all this naturalistic rubbish, down to where it really matters. Convince her. Move! Pick it up at 'See what a grace...' Camera. SLATE MAN Hamlet, Act three, Scene four, Take eight. NARRATOR (O.S.) Action. Hamlet picks it up at the wrong place. HAMLET Look here upon this picture, and on this, The counterfeit presentment of two brothers. See what a grace was seated on this brow, Hyperion's curls, the front of Jove himself, An eye like Mars to threaten and command, A station like the herald Mercury New-lighted on a heaven-kissing hill, A combination of and a form indeed Where every god did seem to set his seal To give the world assurance of a man. This was your husband. Look you now what follows. Here is your husband, like a mildew'd ear Blasting his wholesome brother. Have you eyes? Could you on this fair mountain leave to feed And batten on this moor? Ha, have you eyes? You cannot call it love; for at your age The heyday in the blood is tame, it's humble, And waits upon the judgment, and what judgment Would step from this to this? Sense sure you have, Else could you not have motion; but sure that sense Is apoplex'd, for madness would not err Nor sense to ecstasy was ne'er so thrall'd But it reserv'd some quantity of choice To serve in such a difference. What devil was't That thus hath cozen'd you at hoodman's blind? Eyes without feeling, feeling without sight, Ears without hands or eyes, smelling sans all. Or but a sickly part of one true sense Could not so mope. O shame, where is thy blush? Polonius comes INTO FRAME from the left. POLONIUS Help. Help me. Suddenly from off camera the Narrator aims a pistol at Polonius and FIRES, hitting him right between the eyes. He falls to the ground. There is a commotion, and the two Production Assistants SCREAM again. NARRATOR (O.S.) Quiet! Quiet on the set! Hamlet, keep going! The commotion continues, however. HAMLET Rebellious hell, If thou canst mutine in a matron's bones -- NARRATOR (O.S.) QUIET ON THE SET, GOD DAMNIT! TWO SHOTS RING OUT. A body falls. Hamlet stops. Silence. NARRATOR (O.S.) Keep going, keep going: "Rebellious hell, if thou canst mutine..." HAMLET Rebellious hell, If thou canst mutine in a matron's bones, To flaming youth let virtue be as wax And melt in her own fire; proclaim no shame When the compulsive ardour gives the charge, Since frost itself as actively doth burn And reason panders will. GERTRUDA O Hamlet, speak no more. Thou turn'st my eyes into my very soul, And there I see such black and grained spots As will not leave their tinct. HAMLET Nay, but to live In the rank sweat of a enseamed bed, Stew'd in corruption, honeying and making love Over the nasty sty. GERTRUDA O speak to me no more, These words like daggers enter in my ears. No more, sweet Hamlet. HAMLET A murderer and a villain -- NARRATOR (O.S.) Cut. Shit. That was piss-poor. There's no progression. You're just shouting. He's got to approach her, and -- HAMLET (to Narrator) Oh, this is ridiculous. Of course I'm shouting. He's angry. That's his whole motivation. He's -- NARRATOR (O.S.) Oh, his motivation. Is that so? Were you there? Do you really know what Amlethi was thinking in this scene a thousand years ago? HAMLET (to Narrator) I don't have to know what he was, what he really thought. NARRATOR (O.S.) He was going to rape her. Gertruda looks up with interest. HAMLET (to Narrator) It makes no difference anyway. All I need is my motivation. He's angry, for crying out loud. NARRATOR (O.S.) Uh-huh, all right Mister smarty-pants, you want to be angry? There is the SOUND of a WHIP CRACKING. HAMLET (sotto voce) Jesus Christ. NARRATOR (O.S.) All right. Let's take it back to "When the compulsive ardor gives the charge..." Go ahead and do it your way. Gertruda: softer with each new utterance. Camera. SLATE MAN Hamlet. Act three, scene four, take nine. NARRATOR (O.S.) Action. Hamlet is even angrier than before. HAMLET When the compulsive ardour gives the charge, Since frost itself as actively doth burn And reason panders will. GERTRUDA O Hamlet, speak no more. Thou turn'st my eyes into my very soul, And there I see such black and grained spots As will not leave their tinct. HAMLET Nay, but to live In the rank sweat of an enseamed bed, Stew'd in corruption, honeying and making love Over the nasty sty! GERTRUDA O speak to me no more. These words like daggers enter in my ears. No more, sweet Hamlet. HAMLET A murderer and a villain, A slave that is not twentieth part the tithe Of your precedent lord, a vice of kings, A cutpurse of the empire and the rule, That form a shelf the precious diadem stole And put it in his pocket. GERTRUDA No more. HAMLET A king of shreds and patches. He turns, as if to the Ghost. Then he stops. He looks toward the Narrator, with the attitude of "I told you so." Gertruda has been remarkably more effective being progressively softer. NARRATOR (O.S.) Cut. (sotto voce) Hey Mac, open that up and give me that film. There are sounds of someone fiddling with the camera mechanism. NARRATOR (O.S.) (continuing) Hey Hamlet. She throws the roll of film at him, just missing hitting him in the head. NARRATOR (O.S.) There's your film. Now get back over there and do it the way we rehearsed it. Hamlet moves back into a different position, fuming. He has a lot of trouble being progressively softer, but he makes an effort. NARRATOR (O.S.) (continuing) You can be as angerly as you want to start with. He's softening. At each new utterance he's softer yet. What's happening, as you remember, is that they're going to make-up. It almost happens, right at "A king of shreds and patches." Take it back to "When the compulsive ardor gives the charge." Camera. SLATE MAN Hamlet. Act three, scene four. Take ten. NARRATOR (O.S.) Action. HAMLET (softer) When the compulsive ardour gives the charge, Since frost itself as actively doth burn And reason panders will. GERTRUDA O Hamlet, speak no more. Thou turn'st my eyes into my very soul, And there I see such black and grained spots As will not leave their tinct. HAMLET (moving to her) Nay, but to live In the rank seat of an enseamed bed, Stew'd in corruption, honeying and making love Over the nasty sty. GERTRUDA O speak to me no more. These words like daggers enter in my ears. No more, sweet Hamlet. HAMLET (softer, feeling guilty) A murderer and a villain, A slave that is not twentieth part the tithe Of your precedent lord, a vice of kings, A cutpurse of the empire and the rule, That from a shelf the precious diadem stole And put in his pocket. GERTRUDA (reaching for him) No more. HAMLET (reaching for her) A king of shreds and patches. Just then a window blows open: there is a rush of air, and the enormous hand of the Dragon reaches in, carrying the mask. Hamlet whirls around, terrified. HAMLET (continuing; to heaven) Save me and hover o'er me with your winds, You heavenlyl guards! (to Ghost) What would your gracious figure? GERTRUDA (aside) Alas, he's mad. HAMLET Do you not come your tardy son to chide, That laps'd in time and passion, lets go by Th'important acting of your dread command. O say. NARRATOR (O.S.) (thunders) DO NOT FORGET. THIS VISITATION IS BUT TO WHET THY ALMOST BLUNTED PURPOSE. But look, amazement on thy mother sits. O step between her and her fighting soul. Conceit in weakest bodies strongest works. Speak to her, Hamlet. HAMLET How is it with you, lady? GERTRUDA Alas, how is it with you, That you do bend your eye on vacancy, And with th'incorporal air do hold discourse? Forth at your eyes your spirits wildly peep, And, as the sleeping soldiers in th'alarm, Your bedded hair, like spears of warriors, Start up and stand on end. O gentle son, Upon the heat and flame of thy distemper Sprinkle cool patience. Whereon do you look? HAMLET (to Gertruda) On him, on him. Look you how pale he glares. His form and cause conjoin'd, preaching to stones, Would make them capable. (to Ghost) Do not look upon me, Lest with this piteous action you convert My stern effects. Then what I have to do Will want true colour -- tears perchance for blood. He looks away and cries. GERTRUDA To whom do you speak this? HAMLET (desperate) Do you see nothing there? GERTRUDA Nothing at all; yet all that is I see. HAMLET Nor did you nothing hear? GERTRUDA No, nothing but ourselves. HAMLET Why look you there, look how it steals away. My father, in his habit, as he lived! Look where he goes even now out at the portal. Exit Ghost. Gertruda is trying to reach out to Hamlet once again. GERTRUDA This is the very coinage of your brain. This bodiless creation ecstasy Is very cunning in. Hamlet calms down, and drops his pose. HAMLET My pulse as yours doth temperately keep time, And makes as healthful music. It is not madness That I have uttered. Bring me to the test, And I the matter will re-word, which madness Would dance far from. Hamlet is standing some ways off from her. HAMLET (continuing; coldly) Mother, for love of grace, Lay not that flattering unction to your soul, That not your trespass but my madness speaks. It will but skin and film the ulcerous place, Whiles rank corruption, mining all within, Infects unseen. Confess yourself to heaven, Repent what's past, avoid what is to come; And do not spread the compost on the weeds To make them ranker. Forgive me this my virtue; For in the fatness of these classy times Virtue itself of vice must pardon beg, Yea, curb and woo for leave to do him good. GERTRUDA (with deep sincerity) O Hamlet, thou hast cleft my heart in twain. She collapses into herself, and sobs, not really paying much attention to Hamlet. Hamlet moves toward her slowly, but is trying much too hard, berating her rather than convincing her. HAMLET Throw away the worser part of it And live the purer with the other half. Good night. But go not to my uncle's bed. Assume a virtue if you have it not. That monster, custom, who all sense doth eat Of habits evil, is angel yet in this, That to the use of actions fair and good He likewise gives a frock or livery That aptly is put on. Refrain tonight, And that shall lend a kind of easiness To the next abstinence, the next more easy; For use almost can change the stamp of nature, And either lodge the devil or throw him out With wonderous potency. Once more, good night, And when you are desirous to be blest, I'll blessing beg of you. He moves over to Polonius. HAMLET (continuing; aside) For this same lord O do repent; but heaven hath pleas'd it so, To punish me with this and this with me, That I must be their scourge and minister. I will bestow him, and will answer well The death I gave him. (to Gertruda) So, again, good night. (aside) I must be cruel only to be kind. Thus bad begins, and worse is yet to come. (to Gertruda) One word more, good lady. She replies as if she hadn't heard him. GERTRUDA What shall I do? HAMLET Not this, by no means, that I bid you do: Let the bloat King tempt you again to bed, Pinch wanton on your cheek, call you his mouse, And let him, for a pair of reechy kisses, Or paddling in your neck with his damn'd fingers, Make you to ravel all this matter out That I essentially am not in madness, But mad in craft. 'Twere good you let him know, For who that's but a queen, fair, sober, wise, Would from a paddock, from a bat, a gib, Such dear concernings hide? Who would do so? No, in despite of sense and secrecy, Unpeg the basket on the house's top, Let the birds fly, and like the famous ape, To try conclusions, in the basket creep, And break your own neck down. GERTRUDA Be thou assur'd, if words be made of breath, And breath of life, I have no life to breathe What thou hast said to me. HAMLET I must to England, you know that? GERTRUDA Alack. I had forgot. 'Tis so concluded on. HAMLET (to Gertruda) There's letters seal'd, and my two schoolfellows, (aside) What I will trust as I will adders fang'd, (to Gertruda) They bear the mandate, they must sweep my way And marshal me to knavery. (aside) Let it work; For 'tis sport to have the enginer Hoist with his own petard, and't shall go hard But I will delve one yard below their mines And blow them at the moon. O, 'tis most sweet When in one line two crafts directly meet. (to emblem) This man shall set me packing. (aside) I'll lug the guts into the neighbour room. (to Gertruda) Mother, good night indeed. (aside) This counsellor Is now most still, most secret, and most grave, Who was in life a foolish prating knave. (to Polonius) Come, sir, to draw toward an end with you. (to Gertruda) Good night, mother. Exit lugging in Polonius. Gertruda weeps. NARRATOR (O.S.) Cut. Print it. PRODUCTION ASSISTANT (O.S.) Print it. Gertruda continues to weep. FADE OUT.


text:
MAS Home Care is pleased to announce our non-profit holiday organization, Stockings for Seniors is going on our 6th year! Over the past few years, we have delivered gifts to over 300 seniors in need. This year, with your help, we are hoping to double that number.
We are gathering a list of seniors who may need some extra cheer this holiday season. We are asking the public to donate and drop off (or call to arrange a pick up) unwrapped gifts like blankets, gift cards, sweaters, puzzles, etc. to MAS Home Care of New Hampshire, MAS Home Care of Maine, MAS Home Care of Rhode Island, or MAS Home Care of Massachusetts. The deadline to drop off gifts is the 2nd weekend in December. We will wrap up the goodies and deliver personalized stockings to local seniors starting the following week.
If you know of someone who would benefit from Stockings for Seniors, please contact your local MAS Home Care branch. If you would like to make a monetary donation, please click the donate button below.
Need some gift ideas?
-Any size Men & Women's sweaters
-Men & Women's hats/gloves/scarves
-Boxed Greeting Cards
-Old movies
-Bath items (perfume, cologne, after-shave, etc.)
-Back Bags (for homeless Veterans)
-Men's socks
-Gift Cards to Hannaford's, Market Basket, CVS, Walgreens and Dunkin Donuts
-Sudoku/crossword puzzle books
Bangor, ME area:
Contact Jen
MAS Home Care of Maine
30 Summer Street, Suite 5
Bangor, ME 04401
Portland, ME area:
Contact Tracy
MAS Home Care of Maine
21 Saco Street
Westbrook, ME 04092
New Hampshire:
Contact Jay
MAS Home Care of New Hampshire
156 Harvey Road
Londonderry, NH 03053
Rhode Island and Massachusetts:
Contact Dawn
MAS Home Care of Rhode Island
1243 Mineral Spring Avenue
North Providence, RI 02904
100% of all donations will go to seniors in the community.
Please help us give back to the people who have given so much all their lives.

subset: commoncrawl


text:
Selena Gomez Dances with Adorable 6-year-old Girl with Rare Disease
HollyscoopPublished: June 23, 20164,285 views
Published: June 23, 2016
Selena Gomez always has time to have fun with her fans. This might just be the cutest thing we have seen in a really long time. Selena Gomez posted the most adorable video to her instagram of her and 6 year old Audrey Nethery busting a move to her song 'Love You Like a Love Song.'


text:
The pass thrown by Andre Woodson went airborne with a tight spiral and seemingly hung in the air forever before rookie receiver Ramses Barden, never breaking his long stride, hauled it in after having gained one step on another rookie, cornerback Bruce Johnson.
It was an eye-catching play during yesterday's Organized Team Activity practice and one that might never have been able to be completed last year or in any of the previous years inside the crammed practice bubble.
You see, this was a rainy day and the Giants went indoors to work. Their antiquated bubble is set to be taken down in the coming weeks and no one will shed a tear. At a meager 55-yards long, with a sloped roof that was too low by NFL standards, the bubble was not conducive to properly getting the kinks out of a long-distance passing game. It has been replaced by a state-of-the art field house that contains a full-length 100-yard field, a cavernous roof and plenty of room to roam on the sidelines.
The Giants believe their new practice home will help jump-start a deep passing game that last season, even with Plaxico Burress and Amani Toomer, was somewhat stagnant.
"In the bubble we always kind of had to worry about running a guy into the back of the end zone, it was a small area and you're kind of scared to let some balls fly," Eli Manning said.
Also during the practice, Domenik Hixon was the recipient of a perfectly-thrown ball by David Carr that resulted in a long completion and Sinorice Moss caught one deep on the left sideline from Woodson. The newfound freedom is appreciated.
"You would catch it in the bubble and you can't stop on a dime so you would take another four or five steps and there was a possibility of running into the wall," Hixon said.
With such tight quarters, defensive backs knew they couldn't be beaten deep.
"The bubble will give you a false sense of playing ball," cornerback Corey Webster said. "You go out there in the bubble you know it's less than a 60-yard field, the ball can't go over your head. This gives us more to prepare for a game situation. The bubble, we're happy we're out of that and we get a real sense of how it's going to be in the game."
It was another strong day of attendance, with 87 of 89 players on hand. The only two absentees were LB Danny Clark and DE Justin Tuck.
Clark, along with assistant coaches Tom Quinn and Peter Giunta, attended a memorial service for longtime NFL special teams coach Frank Gansz Sr., who passed away in April.
Tuck, who was not excused from the voluntary workout, had to attend to personal business.
Coach Tom Coughlin said DT Fred Robbins — who this week disclosed on his Web site that the knee surgery he had this offseason was a micro-fracture procedure — is on schedule but offered no promise he'd be ready for training camp. . . . Speaking cryptically about himself, LB Antonio Pierce said of this season: "There's going to be a new-look A.P."


text:
August 2, 2013
CFTC Obtains Default Judgment against Christopher Smithers of Florida for Fraud in Connection with Futures Contracts, Fraud in Connection with Contracts of Sale of a Commodity in Interstate Commerce, and Violations of a United States District Court's Prior Orders
Defendant defrauded customers in trading commodity futures contracts and in the purchase of gold bullion
Washington, DC – The U.S. Commodity Futures Trading Commission (CFTC) today announced that Judge Kenneth A. Marra of the U.S. District Court for the Southern District of Florida entered an Order of default judgment and permanent injunction against Christopher Smithers of Jupiter, Florida. The Order requires Smithers to pay a $590,940 civil monetary penalty and $196,980 in restitution, imposes permanent trading and registration bans against Smithers, and prohibits Smithers from violating the Commodity Exchange Act (CEA) and CFTC regulations, as charged.
The court's Order, entered on July 31, 2013, stems from a CFTC Complaint filed on October 22, 2012, charging Smithers with violating anti-fraud provisions of the CEA and CFTC regulations as well as provisions of the CEA proscribing violations of a court Order. The case is U.S. Commodity Futures Trading Commission v. Christopher Smithers, Case No. 9:12-cv-81165-KAM (see CFTC Press Release 6397-12).
The court's Order finds that from October 2008 to March 2009, Smithers misrepresented to customers that his commodity futures trading was profitable when it actually resulted in losses of $220,000. Further, the court's Order finds that from June 22, 2011, through November 2011, Smithers falsely represented to various Futures Commission Merchants the identity of the person who opened and controlled commodity futures trading accounts that, in reality, he had opened and controlled. Smithers made such misrepresentations to circumvent prior U.S. District Court Orders that prohibited him from trading commodity futures contracts.
In addition, the court's Order finds that in 2011, Smithers misappropriated $162,980 of a customer's funds that were provided to him for the purchase of gold bullion, and that he fraudulently solicited a customer for funds with which to trade commodity futures. Finally, the court's Order finds that Smithers' commodity futures trading was in violation of two previous U.S. District Court for the Southern District of Florida Orders of permanent injunction entered against him in CFTC v. Matrix Trading Group., Inc., David Weeden, and Christopher Smithers, Civil Action No. 00-8880-CIV-ZLOCH (S.D. Fla. Oct. 3, 2002), and CFTC v. Christopher Smithers, Prosperity Consultants, Inc., and Jack Smithers, Case No. 05-80592-CIV-Hurley (S.D. Fla. Nov. 6, 2006).
CFTC Division of Enforcement staff responsible for this case are Harry E. Wedewer, Dmitriy Vilenskiy, Danielle E. Karst, John Einstman, Paul G. Hayeck, and Joan M. Manley.
Last Updated: August 2, 2013


text:
Tag Archives: reading list
…what I'm reading at the moment
1. Space by Stephen Baxter (Thanks, David!) 2. Astropolis by Sean Williams (Book 2 of Saturn Returns) 3. Affluenza by Oliver James (An interesting psychological study of need to consume. He conducted interviews around the world) What I hope to be … Continue reading
Posted in news Tagged by my bedside, coming soon, reading list 1 Comment


text:
Student or Learner
I would like know the meaning of "baby brothers are worth it"
My twin brothers are funny, but sometimes they make my mom crazy!
Yesterday was one of those times.
In the morning, they pulled all of their clothes out of their dresser
At lunch, they spilled a gallon of juice on the floor
Right after their baths, they pulled a plant out of its pot.
Dirt went everywhere! Our house was a mess yesterday,
but Mom says baby brothers are worth it.
For instance, we might say:
"The winters may be cold and snowy but living here is worth it."
"I always find them difficult to get along with, but temperamental sopranos are worth it."


text:
New subscription
Active within 2128 Days
I am from Boca Raton, FL and I've been a Club Horse member for 10 years, 5 months and 8 days
Age: 29 years old
Gender: Gelding
Breed: Thoroughbred
Height: 16hh
Color: dark bay
Type of Riding: we're starting to do hunter/jumping
My Horse's Achievements:
My Horse's Favorite Treat: apples!!!!!
My Horse's Favorite Things To Do: going on trail rides/ galloping
Pet Peeves:
My Horse's motto: riding=fun
See all awards »
Before I moved, I had begun searching for horses in Florida (I didn't have one then). I saw a nice barn on a website and we called the stable to ask if they did lessons. Unfortunately, there was no trainer at that time and another barn was recommended. I tried that stable, but it didn't quite "click". After many more unsuccessful barns, I searched the internet again and came back to the first website. This time I saw Phantom and we called again. There was an instructor so we went there. On my first lesson, Phantom took off twice (he loves to go fast!). However, I took another lesson and he behaved himself. I have been leasing him ever since and he has been a great partner. ** His owner traded him for another horse and he was going to Alabama probably on the day I found out but I didnt want to let him go and not know what would happen to him. Especially since he has hoof problems and I was worried that he might be neglected or even slaughtered. So since I love him so much we bought him. Im getting another horse on a trial period and he cant do what I want to do so we're trying to find him a good, loving home. ****Phantom found a home (hopefully)!!!!- !!!!!!! He is on a trial period and it seems like he will stay at there! It is a beautiful place with really nice pastures and two ponies that he can be with. He was mean to the little one in the beginning, but now hes better.*******U- nfortunately, that home didn't work out but now he found another one and it seems really good for him..
I've had 2263 friends visit me.
I'm the 5,790th member on HorseChannel.com.
209 friends have voted for me since I joined Club Horse!
Come visit me, Blossom.
Come visit me, ♥Paris:).
Redeem your FREE avatar decorations now »
Kate, Tri-Cities, TN.
Come visit me, Shz Onetuf Sweetie.
Come visit me, Gem, Making His Mark, Storm & Chase.
Come visit me, Sundance, Miss Cool 'Kitty' & Star.
Come visit me, Diamond:) Thank you so much!!!!!, Live and Let Live Farm, Lulu, Angel Marmalade: Thanks for this:)!!!!, Ty, RIP: Angel Doobie: THANK YOU EVERYBODY!!!!!!!, RIP Breezy, Streker: Thank you so much every horse:)!!!!!!!!!!, Rescued Horses: PLEASE SEE MY UPDATE, Sailor: In loving memory & Admiral.
Come visit me, *PATCHES*, **MY BARN JUMPERS <33**, Granits <3RIP<33, Comella****5****, ~*page for Beezie Madden*~, Kismet -my trainers horse* & *sconondoa equestrian center*.
Come visit me, Empress, Spider Dancer & Friends, Solid Brass, Amira & Mr Vaquero Cadillac.
Come visit me, Fresca.
Come visit me, Red R.I.P., Spiderman R.I.P., Babe R.I.P., Boogie R.I.P., ♥ Stormy ♥, Acorn R.I.P., Prize R.I.P. & Sienna R.I.P.
Come visit me, Onyx & Dancer.
Come visit me, Zippy, TSuki & Magic.
Come visit me, NoName♥.
Tell a Friend |
Report inappropriate content on this page.
Hi, my name is
Cherries Jubilee.
Visit the photo gallery to cast your vote »
Get the latest horse-world news, equine health and training info, contest announcements and more.
Sign up to get updates delivered straight to your inbox.
HorseChannel takes your privacy seriously. To learn more, please read our privacy policy.


text:
The Microelectronics Engineering and Technology (MET) department is seeking candidates for a position as a Senior / Principal Electrical Engineer with experience with semiconductor devicereliability to be part of a team to develop next generation microwave and millimeter wave GaN and GaAs semiconductor devices and circuits. The MET department designs and manufactures compound semiconductor devices, millimeter/microwave integrated circuits (MMICs) and modules for defense and commercial applications and is a part of Raytheon Electrical Engineering Directorate (EDD).
In this role, the successful candidate will employ the following skills:
Knowledge:Familiar with the area of device Reliability; have the ingenuity and resourcefulness to be able to develop advanced technologies and concepts.
Discretion:Act independently and as part of a team to uncover and resolve issues.
Vision: Support the development of METs strategic semiconductor reliability roadmaps, innovative measurements systems, and new characterization techniques.
Impact:Provide the innovation and maturation of new technologies and concepts resulting in new product/business opportunities for Raytheon.
Liaison:Report to program management and key spokesperson on reliably issues.
This position can be a Salary Grade E04 or Salary Grade E05 based on the candidate's qualifications as they relate to the skills, experience and responsibility requirements for the position.
Required Education and Experience:
BSEE or device physics plus minimum of 6 years of experience OR MSEE or device physics plus minimum of 4 years of experience.
Experience with RF and DC reliability measurements and /or stress testing on semiconductor GaN and GaAS devices.
Experience with either Arrhenius, or FIT or MTTF data analysis
Experience with Failure Mode Effect Analysis (FMEA) techniques
Desired Skills:
PhD in electrical engineering or device physics
Capability to facilitate standard reliability tasks
Ability to perform and advance device, circuit, and module reliability measurements
Willingness to interact and support teams of device and circuit designers, device modeling engineers, failure analysis experts and test engineers
Experience with on-wafer reliability testing techniques and device characterization
Ability to obtain a security clearance
Experience with identifying and understanding device failure mechanisms
Experience using different types of die attach and carriers and knowledgeable on their effects on device reliability
Experience with various failure analysis techniques including but not limited to electrical tests, visual inspections, Scanning Electron Microscope (SEM), Transmission Electron Microscope (TEM), Focused Ion Beam (FIB)
Statistical and data analysis background
KEYWORDS: Reliability, RF, Microwave, Millimeter-wave, microelectronics, Senior Electrical Engineer, device physics84047


text:
Unreal Tournament 3 marks the return of the world's première first-person shooter. It unleashes the full power of Unreal Engine 3, taking graphics, gameplay, and challenge to a whole new level. Players engage in intense battles with other human players online, or against Unreal artificial intelligence that sets the industry standard. With the most powerful futuristic weapons and vehicles available, this is FPS action at its best!
v1.2 for Unreal Tournament 3. See description for fullchangelog.
- Disabled wrap for options lists on PC.
- Split out player and bot counts on mixed servers in server browser.
- No longer require double clicking on main menu.
- Fixed problem with vote menu, where list positions and scrollbar get reset after the menu updates
- Fixed issue with 'no password' connection error not asking for a password, when in online play
- Fixed issue with dialog boxes, where button positions are not updated correctly after resolution or message length changes
- Made the Instant Action and Host Game menus properly recover the saved mutator list, when the Mutator menu is not opened.
- Fixed an incorrect call to WorldInfo.TravelFailed, and fixed the 'Incorrect Password' dialog not asking for a password.
- No longer disable achievements for mods that don't contain code (maps and custom characters).
- Fixed issues with weapons respawning with Duel and with WeaponsRespawn mutator.
- Reduced visibility of DM beacons in darkmatch.
- Fixed greed exploit with redeemer.
- Updated russian localization. Thanks Michael Sokolkov.
- Removed os helper workaround for Windows 2003 server, now that we have a better fix.
- Fixed low gore issue with Titans.
- Fix for wrong team shader in rare cases.
- Fixed dropflag command not working. Also fixes a CTF exploit.
- Fixed excessive link beam decals for listen servers.
- Fixed warfare orb not showing up on minimap on second and subsequent rounds on map where teams switch sides.
- Reduced damage to nodes/cores from dead Titan explosion.
- Reduced damage Titans do to nodes/core with weapons.
- Titan melee doesn't knock down spawn protected players.
Server Administration:
- Fixed problem where maplist entries contain unwanted whitespace, and move invalid maplist entries to a separate 'BadMaps' list,
instead of just deleting them
- Fixed bug where the advertised game was wrong after switching gametypes, but only for the startup gametype
- Fixed bug with password being removed from URL, during non-seamless travel on the same server
- Fixed bug where the current game profiles mutators would be carried over into other gametypes
- Added 'MapReplayLimit' to UTMapList; this overrides the same value in UTMapListManager, unless set to -1
- Added code to trim down the size of server details results when they become too large, fixes problem where servers would not be advertised
- Adjusted vote code to end vote rounds early, when all players have voted, and to switch map immediately instead of respecting the
'EndTimeDelay' and 'RestartWait' settings
- In endgame votes, forcibly extend the first vote round by 16 seconds (i.e. the time it takes for the vote menu to popup)
- Added admin-only buttons to the vote menu, which allow admins to force a winning vote
- Fixed non-seamless travel client timeout disconnects.
- Now consider server "pure" with same rules as achievements (custom maps, characters, and Epic mutators + webadmin allowed).
- Adjusted mutator voting to properly account for mutators in the game profile settings (both added and excluded mutators)
Mod support:
- Fixed problem with cooking with -mod and ModShaderCache
- Fixed map makers unable to cook when using Titan Pack assets.
May need to delete GlobalPersistentCookerData.upk from My GamesUnreal Tournament 3UTGamePublishedCookedPC
- Added mutator hook for blocking team changes
Level specific:
- Fixed WAR-Confrontation raptor exploit.
- Possible fix for darkmatch memory leak.
- Added refshadercache to patch, so titan content will have shaders compiled.
- Fix for reported rare WAR-Floodgate crash.
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.


text:
Already a paid subscriber but not registered for online access yet? For instructions on how to get premium web access, click here.
Watching the watchers
As Verify the Vote AZ prepares for its Election Day vote-watching operation, the Arizona Democratic Party is also readying its troops and planning to post election protection teams at polling sites to watch the watchers.


text:
Police are trying to catch up with a person who purchased this motorcycle.
The KTM 2009 XC250 motorcycle was stolen in Denver on May 30 and investigators believe it was sold that weekend at the Mile High Flea Market, 7007 E. 88th Ave., Henderson, according to a Metro Denver Crime Stoppers release.
The person who purchased the bike likely does not know that it was stolen, the release said.
Anyone with information on the case, or who possibly recognizes the stolen motorcycle and knows who bought it, is asked to call Metro Denver Crime Stoppers at 720 913-STOP (7867).
Tips can also be sent as text to: 274637 (CRIMES) then title DMCS and enter a message.
Crime Stoppers collects information on unsolved crimes or individuals wanted by the police. Callers can remain anonymous. The tip line is answered 24 hours a day. seven days a week.
Kieran Nicholson: 303-954-1822, firstname.lastname@example.com or twitter.com/kierannicholson


text:
Question asked in Visa and Immigration
What are documents required for UK visa?
Asked by: Mehboob
Answers: 3
Views: 1689
Posted on Mon, 30 Jun 2008 04:16:07 GMT
Question Description
What documents will I need to obtain UK visa? Please give me list of all documents required to apply for UK student visa.
Documents required to obtain UK study visa are:
A valid passport of travel documents
Recently taken photographs for passport of 45mmX35mm dimensions
A non-refundable visa fee
Transcripts of Previous level studies which must show you qualify for course you've chosen
Letter of acceptance from university or colleges UK
Financial documents which include: bank statement, property valuation certificates, and other documents that show you've sufficient funds to live and study in UK
Along with above mentioned documents, you may require other supporting documents depending upon your case and country of residence.
Rate it!
Kumar answered 9 years and 8 months ago
To obtain British student visa you'll need,
- Passport
Rate it!
Re_Innov answered 9 years and 8 months ago
Following are the documents that are required to get the student visa for UK:
-Original passport with one copy(s) (Passport should be valid for next six months at least)
Rate it!
X-masgift answered 5 years and 3 months ago
Related Answered Questions
Other Questions in Visa and Immigration
Ask Your Question
Ask your studying abroad related question here. Your question will be answered by experts and other EduCouncil QnA members.


text:
Education for Global Sustainability
Volume 1: 2017.2018
Effective 1 June 2017 through 31 May 2018
Please see the Graduate Catalog Archives for PDF versions of past catalogs.
This page was modified on 13 October 2017.
Please see the Graduate Catalog Addendum to view changes that were made.
Graduate Certificate
18 Hours
This program is offered by the School of Education.
Program Description
The University certificate in education for global sustainability aims to provide professionals with the knowledge, skills, and tools for transforming schools, organizations and communities toward global sustainability. To attain the certificate, students must complete 18 hours of coursework with a GPA of 3.0 or better and a B- or better in all courses. Choices for coursework in the program must be approved by the coordinator of EFGS and include the requirements below.
To receive this certificate, a student must have a recognized baccalaureate degree and meet all of the admission and acceptance criteria as outlined in the graduate program Academic Policies and Procedures. All certificate courses must be completed at Webster University.
This program is offered online and at the St. Louis home campus.
The U.S. Department of Education defines Gainful Employment program criteria and data requirements. View this program's Gainful Employment Disclosures at http://www.webster.edu/consumers/gainful-employment/graduate/education-for-global-sustainability/gedt.html to see important information about the education debt, earnings and completion rates of students who attended this program.
- EFGS 5000 Foundations of Global Sustainability (3 hours)
- EFGS 5900 Reflections and Next Steps (0 hours)
- Electives (15 hours)
(must include at least 1-environmental, 1-economic, and 1-social equity)
Environmental (choose one):
- ENMG 5000 Environmental Science (3 hours) (9 weeks)
- ENMG 5400 Sustainability Principles (3 hours) (9 weeks)
Economics (choose one):
- EFGS 5740 Economics: Choices and Challenges (3 hours)
- EDUC 4250 Economics and Geography for Global Sustainability (4 hours)
- ENMG 5400 Sustainability Principes (3 hours) (9 weeks)
Social Equity (choose one):
- EDIN 5001 Foundations of Global Citizenship (3 hours)
- EFGS 5430 Sustainability Leadership: Transitions & Change (3 hours)
- EFGS 5240 Creating Sustainable Schools (3 hours)
- EDIN 5490 Seminars in Education and Innovation (3 hours)
(needs approval)
Other electives approved by Coordinator of EFGS:
- EFGS 5220 Teaching Sustainability through Literature (3 hours)
- EFGS 5250 Child as Naturalist (3 hours)
- EFGS 5260 Topics in Sustainability (1-3 hours)
- EFGS 5410 In-Service Workshop (1-3 hours)
Students who are interested in applying to this certificate program should see the Admission Section of this catalog for general requirements.
Admission Requirements
- Receipt of official transcripts from a baccalaureate granting institution.
- Undergraduate cumulative GPA of 2.5.
Send all admission materials to
Office of Admission
Webster University
470 East Lockwood Ave.
St. Louis, MO 63119
Completed application files will be reviewed by the Multidisciplinary Studies Department.
This page was modified on 13 October 2017.
Please see the Graduate Catalog Addendum to view changes that were made.
- Graduate Catalog Home
- Admission
- Enrollment
- Academic Policies
- Tuition, Fees and Refunds
- Degrees
- Certificates
- Course Descriptions
- Graduate Catalog Archives


text:
Rosella "Rosie" Schrichten, 79, of Amelia, died Aug. 6, 2007.
She was preceded in death by son, George; and sister, Betty Manning.
She is survived by husband, Gordon; son, Gordon (Joan) Jr, Glen (Tami), and Greg (Shauna) Schrichten; daughters, Sandy (Jim) Chadwick and Diana (Larry) Kay; daughter-in-law, Charlotte; grandchildren, Jackie, James, Ivy, Samantha, George II, David, Becky, Melissa, Amanda, and Zachary; great-grandchildren, Hunter, Jesse, Jacob, Alex, and Aidan; and friend, Linda Weber.
Funeral services were held Aug. 10 at the E.C. Nurre Funeral Home in Amelia. Burial followed at the Monroe Cemetery.


text: Just a suggestion for making microscope labels: We ran into the same problem using laser printed labels, and solved it by going back to the old zoologists: from Gray's "The Microtomist's Formulary and Guide" (1954) we used formula V.22.3, Martin's Adhesive: Formula: water 30, gum arabic 30, gelatin 15, glycerol 1.5, camphor 0.1 Preparation: Let gelatin soak in additional water overnight. Drain. Dissolve gum arabic in warm water (30). Melt drained gelatin (which will have expanded, bringing more water into the final mixture). Mix melted gelatin with warm gum. Add glycerol and camphor. We substituted thymol for camphor, and have had no troubles. Store Martin's Adhesive in a closed bottle. To use it, set it in a dish of hot water until the gelatin melts and simply coat the back of your label page. After the adhesive drys, cut out the labels, and wet with water (or spit, although the stuff tastes like old stamps). It takes a few trys to figure out how much adhesive to coat with and how much water to stick the labels on with, but once you get the feeling, you can't beat it. We have slides that are two years old and labeled with this stuff: you really have a hard time scraping the labels of with a razor blade-> and even then, they don't come off readily or in one piece. I'm a parasitologist, so I use this stuff to stick labels to glass slides: I don't know how it would work for any other surface. Good luck. R. E. Clopton rclopton at hoss.unl.edu -- Rich Clopton # "The principle value of facts is that they give University of Nebraska # us something to think about." Parasitology/InvertZoo # -R. E. Snodgrass rclopton at hoss.unl.edu #


text:
Skip to 0 minutes and 13 secondsHi. My name's Ian Cook. I'm an associate professor of geography at the University of Exeter. I'm CEO of the spoof shopping website, followthethings.com and I'm also a member of the global coordination team at Fashion Revolution. I research the ways in which filmmakers, artists, activists, and journalists encourage people to think about the people who make the things that they buy and the impact that this work has. I've taught hundreds of students to think of international trade as the social relationships between people who make and buy everyday things. I tell them it's easy to criticise other people's choices.
Skip to 0 minutes and 44 secondsBut when you learn to find out who's made your things, you can bring to life relationships you didn't know you had with people that you've never met. So what effects would these revelations have on you and the people with whom you share them? That's where this course will take you-- through your clothes, maybe the ones you're wearing right now. This course has been created with Fashion Revolution. It's call to arms since the deadly Rana Plaza collapse in Bangladesh in April 2013 is, who made my clothes? So far, Fashion Revolution has been encouraging people to ask this question of brands and retailers. It's been their responsibility to come up with the answers.
Skip to 1 minute and 18 secondsBut by learning to become fashion detectives, we can find the answers for ourselves. From brands' customer helplines, NGO reports, to journalists' exposes, to the social media feeds of global unions, there's plenty of information out there. But we'll pass on some top tips to help you find your needle in this haystack. Taking a single item of your clothing, we'll guide your research into where it was made, who made it, and what their lives and work are like. We'll encourage you to think about sources and voices and how to balance educated guesswork and information in your research.
Skip to 1 minute and 50 secondsWe'll help you to make sense of and write creative and empathetic stories about the relationships that you find with the people who make your clothes. And we'll finish by discussing how what you find and write can contribute to the fashion revolution movement and make a positive difference to workers working worldwide in the fashion industry. Our fantastic team will support and guide you through the course's activities and discussions. Top student commodity detectives from the University of Exeter will act as the course's mentors. They'll be taking the course alongside you and answering questions on the course's discussion boards. Inspirational members of Fashion Revolution's global coordination team will be joining us to answer your questions in our weekly film feedback sessions.
Skip to 2 minutes and 31 secondsWe're really looking forward to finding out what you can find out about the people who make your clothes. It's time for a fashion revolution. We hope you can join us.


text:
Category: Opera
Opera Enters Advertising Market
Back in January of 2010, Opera Software has acquired a mobile advertising company "AdMarvel".
Ever wondered what could possibly come out of this? Today, company has announced its plans to join mobile advertising market with its cloud-based, "Open Mobile Ad Exchange" platform.
By using JavaScript technology, company pushes advertiser ads directly into Opera Mini served web pages.
As Opera Software co-founder Jon von Tetzchner said, "there will be ads where you're used to seeing ads,".
Although there are almost 70 million Opera Mini users worldwide, it's still unclear how exactly the company will attract potential advertisers and whether or not this product becomes a huge success.
Opera 10.63 RC Released
If you are eager to try a newer version of Opera 10.6 branch web browser, then here is your chance.
Today, company has released a release candidate build of Opera 10.63 desktop browser, focusing on stability (a total of 11 crash related issues fixed) and bug squashing.
Browser Comics
See the following post for more.
Weekly Browsers Recap, October 4th
• IE9 Beta: 6 Million Downloads in Two Weeks
Following 2 million downloads milestone on September 21st, Microsoft has…
• Mozilla: No Firefox Browser for the iPhone
If you've been expecting to see Firefox for the iPhone anytime soon, then…
Continue Reading
September, 2010 – Firefox, Chrome, Safari, Opera Share Up; Internet Explorer – Down
October, commonly associated with autumn. Was it any good for web browsers? What about IE9? Let's find out!
Internet Explorer 9 release made no significant difference, as IE market share fell from 60.40% to 59.65% (0.75 point decrease).
Continue Reading
FavBrowser and Opera Give Away Winners (Updated)
Congratulations to…
Continue Reading
FavBackup 2.0.2 Released
Here is a minor update that should fix Chrome 6 and Opera 10.60 compatibility issues:
– Backups Google Chrome Login Data
– Backups Opera Typed Links Data
How to Enable New Opera Dragonfly UI?
Would you like to test a new Opera Dragonfly UI? Here is how:
1. Type opera:config#DeveloperTools|DeveloperToolsURL in the address bar.
2. Change "Developer Tools URL" path to https://dragonfly.opera.com/app/stp-1/experimental/
3. Click Save (restart not required).
Thanks to "narzędzia warsztatowe" for the tip.
Via my.opera.com
Android Browsers: Skyfire vs. Dolphin HD vs. Opera Mini vs. Mozilla Fennec
Guys at PCWorld benchmarked Skyfire 2.0, Dolphin HD, Opera Mini, Mozilla Fennec, Android 2.1 and Android 2.2 stock mobile web browsers.
As you can see from the results above, Opera Mini and Skyfire 2.0 took the lead, followed by Android 2.2, Android 2.1, Dolphin HD and lastly, Mozilla's Fennec (Alpha) browser.
Interestingly enough, Skyfire 2.0 beats Opera Mini when loading pages directly from the web (they both compress content), while Opera Mini performed better during cached pages load test.