 developmental readings in different locations around Williamsburg, so heads up there is more coming. This is a slightly different format than we've done before. This is Nick Restler who is directing. I'm Tore Kinnenselt. I wrote the play and I also am co-artistic director of Penguin. Yeah so basically what you're looking at tonight ladies and gentlemen is a reading, a workshop in progress of this play. You can see with the script in hands and they have received actually many new pages even as close as several hours ago. So this is a really exciting, very vibrant process, a really key step in the development of this play for Tore and also the culmination of a week's work of getting into it, becoming familiar with it and what we present to you tonight will be a somewhat staged representation of how this might go and what we are looking to do eventually down the road when it comes to a full production. So sit back and enjoy. You have questions that we've given to you with your program that we would like to consider and after the show there will be time to give us a feedback as a response to those questions that you have in your hands as it comes up as you will. They can certainly be anonymous but if you would like us to be in touch with you about this or about stuff in our main stage season feel free to write your contact information on them and there is also a very high tech clipboard in the back that you can put that information on and on the back you see the dates for our main stage shows. Coming up we have K2 here in the library that starts June 7th and 8th and then Screen Queens which is a campy musical also here in the library and in the fall heads up for the Woman in Black which will be here. So thank you very much enjoy. Or Mrs. Blake on a holiday jihad a new play by Tori Keenan-Zell. At one puppet ballet when thousand and one nights smoke is now a tens of market stall he charms a basket of snakes inter-silvia. The book of the thousand nights in a night translated for the Royal Geographic Society by Sir Richard Francis Burton. Oh. And thus the king stood at the window overlooking the pleasure garden and low. Sir Richard Burton reduces puppets of the twenty contravines. He makes me dance. The pastor of the palace swung open and out of it came slave girls surrounding his brother's wife. Oh how interesting. Fanny look. Into Fanny brandishing a copy of Murray's Guide for Traveller and an imposing parasol. And yes then we ought to make a left by the mosque. Do you see a mosque mama? Well perhaps it was before the mosque. Yes I do believe that it may have been before the mosque. I do not think this is the mosque. I wonder we ought to turn back there by the lepers. Lepers mama. Yes Fanny. His brother's wife wonders fair. A model of beauty and comeliness. Symmetry and loveliness who paced with the grace of a gazelle which panted for the cooling stream. Oh. So Richard Burton needed to start to dance to the music. Only there was someone to ask. They advanced a little way into the garden till they came to a jetting fountain. Then they stripped off their clothes and behold. He changed his tin of the puppets into naked women. Over there. There. Concubines of the king. And the other tin. White slaves. He changes the rest of them into naked men. Filya reaches out to touch some of the puppets but Sir Richard Burton pulls them away. No I do not have any pennies. I am very sorry. No pennies. No pennies. No. Back sheesh. No. You go away now. Go away. Go away. Fanny stabs at a passing street child. They all paired off. Each with each. Sir Richard Burton pairs the puppets off and makes them have sex. You see Mama what did I tell you? I'm what about the queen. Sorry. Who was left all alone. Oh. We shall have to keep our wits about us. He surrounds her with the puppets. Presently she cried out in a loud voice. The stranger upon arriving in the market is pressed on all sides by the most unfortunate of human beings. Come here to me all my lords I need. And then sprang from one of the trees a big blackamore with rolling eyes which showed the white a truly hideous sight. He walked boldly up to her and threw his arms around her as she embraced him as warmly. Then he busts her and winding his leg around her. As a button loop class a button he threw her and enjoyed her. It's not only the natives who are rapacious and exacting. The Europeans and Egypt's right behind with any of them. Rapacious and exacting. Yes. Well those not the very words that the colonel used his very words. Mama. Sir Richard Burton becomes her tether in melt arms. Yes Fanny. Did you hear me? Why don't you ask the left first? I have told you you must not wander off stay close beside me and hurry up. The colonel is a great advocate for punctuality. Punctuality Mama. Yes darling. Where is your parcel? I thought I saw. It looks like rain anyway. Perhaps I ought to have brought the umbrellas instead. Where is your purse? Oh don't tell me you've lost it too. It is here. It's straightly Mama. She takes the purse and hides it. You must remember what Mr. Murray writes. An open purse is an open invitation. To what? Curiosities, artifacts, Aladdin's lamps, get surreal authentic Aladdin lamp replicas here. I think it is this way. Only two shillings ladies. No we find ourselves powering it back out. Just you and your wish were punctual. Hearing up their pre looming shillings. You madam, what's your wish? It comes with three central groups of people. That is what he said. I am a man who prides himself on punctuality. Well just the other day he said that. Hello. Yes, hello madam. Hello, how can we help you? No, thank you. Surely I can interest you in a mummified cat. I don't know why. It's certified. I think not. It is? That is not what I meant. A basket then. Woven from descended wheat of the very wheat that the baby Moses used to weave. I'll tell you what. Let me make you a present. How would you like to see your name written out in real hieroglyphics? This man would be happy. Is it ma'am? Yes ma'am. The lost prince of a Concord Nubian tribe saved him myself from a gauze. Killed the whole tribe. How beautiful. Isn't it? You should see his penmanship. Ismail is still a charming snake. It's ma'am. It means the one who has given much honour and praise and who was lifted up amongst the people. Come along ma'am. We are quite late. For what? The colonel is holding the carriage. What is he doing? I thought you wanted to see the pyramids. At Giza. Oh, do you know of them? Is it true that you can see Nubia from the top? Some people say you can see all the way up the Nile. It's beautiful at sunset. I really must insist. A moment. Now ma'am. Do you have the dragonmen and umbrellas? The rocks can be dangerous. Then he throws down a coin, snatches up an umbrella and goes off. See you tomorrow. Thank you. He watches them go as Ismail starts to take down the market stall. You might have let me finish my conversation. Scene two. Stinks. It doesn't. Ismail and Sir Teza assemble the market stall into a carriage. Sir Teza becomes a colonel and carries both a rifle. She's a large doll. Oh, colonel. I cannot tell you how great or indeed. I cannot think of words great enough to express our thanks. But if I could, you must believe how... You are too kind. Indeed, we are not, colonel. No, if anything, we are not kind enough. If you could imagine the depths of our gratitude to venture out this way, well, it is a real treat. Well... And the carriage. Oh, I do not know when I have seen such cushions. The very essence of plushness. Are they not, ma'am? Oh yes, the cushions are adequately plush. You are too kind. I tell you, we are not. Oh, I do not know what I shall do when I see the sphinx. Indeed, I do not. I think I shall faint. I shouldn't be surprised. Ladies are always fainting of some such. You know, Lady Isabel faints at least once a day. Isn't that right, darling? Oh. Oh, she's a Catholic. Catholic, mama. Lady Isabel is a very spiritual person. How nice for you. Oh, not for me, Mrs. Blake. No, for the natives. Lady Isabel is doing her absolute wonders with the faheen. Do you know every time she meets one, she makes a point of talking to him? With each one. Oh, yes. And if she can, she saves his soul. And have you had much success, Lady Isabel? She is excessively modest. But I believe she has collected over 200 souls this very week. I shall have to confirm that with the book, of course. She keeps the souls in a book. You must excuse my mother. She suffers from sporadic but acute dementia. However, she was saying to me just the other day, we're not, mama. How much she wished someone would reach out to these people. They seem so lost. And they ask for so much money. Indeed. One really must save them from themselves. Sylvia stands and goes to the carriage window. Sit down, mama. Is that? Oh, yes, the sphinx. Sphinx. But it's immense. I had no idea it was so immense. Oh, yes, quite. It's often identified by its immenseness. Yes, very immense indeed. I'm quite afraid I shall faint. Why are we not stopping? You know the story, of course. Sorry? Of the sphinx. Oh, I'm not sure that I remember. Oh, capital. I shall tell you. Do not ruin it, Isabel. You've heard before. I should like to stop. Do not excite yourself, mama. You said that we were to scale the heights. You see, the sphinx is a monster. Half woman, half lion, half bird. Have so many houses. Fanny. Yes, yes. Of course, you're right. That's very good, Miss Blaine. Very good indeed. You ought to have been an Egyptologist. Look there. Seeing how she guards the tombs of the pharaohs. Fanny. We will be home soon, mama. But you said. At stiff and rest. You see, she destroys anyone who enters the tomb, unless they can answer her riddle. Do you think you can answer it? So be it. I think so. Oh, you must be sure, Miss Blake. Otherwise, certain death awaits you. Tell me. I will. Do not ruin it, Isabel. You know the answer. Now, there are two sisters. One gives birth to the other, and she, in turn, gives birth to the first. I'll give you a clue. It is something in nature. Sylvia opens the door and tries to step out. The sudden pain within her. She tumbles down onto the sand. Stop the carriage! The colonel knocks on the roof. The carriage stops. Mama, are you hurt? It is all right. I will retrieve her. The colonel climbs down. She is too frail to travel. I want never to have agreed. Oh, this is all my fault. I have not been so upset since my fiance was lost tragically at sea. My condolences. Thank you. He was very tall. Do not be afraid. I am here. You are quite safe. Keep calm and do not faint. You have fallen. Yes. You're so dreadfully sorry, colonel. I don't know what came over her. Nonsense. I wish to see the source of the knife. We will talk about it later. It is, as I always say, a day is not a day without a brush of death by team time. Isn't that what I always say, Isabelle? You know? Night and day. I beg your pardon? That is the answer to the riddle of the things. Oh. See, Penny, shoes. Penny. You're tracking sand all over the floor. We'll have to leave something for the maid now. I will leave her, Penny. She looks inside her purse. I will leave her ahead, Penny. Did you hear me? Which dress do you want for the train? Neither. The green or the blue? I am not going to the train. The blue, then. Have you taken your tonic? It makes me dull. You're romanticism. I'm feeling much better here. My senses are sharper. My mind is... If I just had a bit more time... We cannot afford more time. If we economize... As it is, we shall not have sugar until the annuity comes. We ought to have left last week. Could you not write, cousin Mary? I wrote to her for help with the tickets here. Right again? No. Well, I am not leaving. Whatever you say, Mama. I have not seen enough yet. The Nile. Yes, the Nile. You would like to see the Nile? See it. There it is. You do not understand. I want to swim in it. Follow it. Drink it in. Isn't it brackish? Is it? Yes. Well, follow it then. Where? All the way to the end. Or the beginning, I suppose. Oh, I wish to see things, Fanny. Not just the echoes of things, but... I think perhaps I might see their promise. You know, they say the Nile's source is the place where Eden once was. Can you imagine that I might see Eden? Me. I might see the source of things as they were meant to be. Don't you want to see that too? I am not interested in fairy stories. Oh, Fanny, please. For once in my life, let me feel something. Have I ever stopped you? I cannot breathe in that house. You must understand. I have spent too many years sitting by a window with no one to open it, cutting the time into small enough chunks that I might swallow them without choking. You had me. You know what I meant. Yes, that I am only part of the window. No, of course not, Fanny. Darling, I want you to come with me. I want you to see it too. Take your tonic. Fanny. Good night, Mama. Tell me a ghost to measure out her tonic. She pours it out. My father's library had an atlas. And when I finished my lessons, my governess would climb the ladder and bring it down. She would show me her town in France and the path of the Great Wall. And we would trace the course of the Nile with our fingertips all the way. I had forgotten that. They don't put fairy stories in atlases, do they? Very early morning. Fanny is asleep. Sylvia quietly searches through the luggage. Sylvia finds Fanny's purse. She takes out several bills, counts them, sets a few on the floor beside Fanny and puts the rest back into her purse. Taking the purse, she crosses to the edge of the light, looks back once, and exits into the darkness. Seeing four, the snake charmer. Sir Teza, presiding over the boot, trying to engage password five. Ismael sits next to her, performing a snake charmer. I'm going to see the source of the Nile today. I require a dragoon. Well, with all due respect, that's not just going to be... If you cannot help me. How big is your party? Myself. And your daughter? As I said. Have you ever been on a riverboat? I have read Huckleberry Finn. Well, that's fine. It's dangerous, you know. I should hope so. I was under the impression that that was the point. Well, once you get down past the cataracts, all you've got is her trides and guns in sand, and that's in peacetime. You've got to know what you're doing. It sounds as if you do. I'm not a dragon. Only time I go down there is for the Hashi's trade. Oh, I will not interfere. We run tight margins, and we've got to find the markets as they move. It takes months sometimes to unload a whole shipment, and I can't say for how long we'll be gone. I will pay. I don't work for Hyatt. Four hundred pounds. Sterling. What if I bought the shipment? How much would that be? More than four hundred. How much more? I'll do respect. Five hundred? Six? And you can still trade your Hashi's. Well, now there'd be a rush and I'd have to get supplies. Perhaps I ought to ask someone else. Well, now I'm just working it out. I think we could do the whole thing for eight. That's the cost of the shipment and two months worth of supplies. Six is all I have. Well, but you must promise that you will take me all the way to the source of the Nile. You do know the way. Of course. To the very end. You must give me your word. Jayster Tesla, at your service. Still be a blank. She can't seem to perse. His mail starts to play again. How does he do that? Magic. What sort of magic? Here. May I have your hand? Is it dangerous? I thought that was the point. Though it is. She gives him her hand. Mama. Sir Ted's guide. Sir Ted's guide, Sylvia's hand, close to the snake. It touches her finger and begins to move slowly up her arm. Mama! Oh, you remember my daughter. You lost your mind? Oh, I don't believe so. But then, if I had, how would I know? You'll be killed! I do not think he likes your shadow. Why am I not shouting? Startle, the snake bites Sylvia. Oh! What happened? Your hand! Her hand is swelling! Oh, God, do something! It's all right. She'll die! Ha! What happened? Well, first, that's a toy sword. It looks like it will cut. You can't press that hard. And second, the venom would have already circulated by now. Then he throws down the sword and tries to suck the venom out of Sylvia's hand. And third. It will be all right, Mama! Hold on! It has no teeth. What do you mean? Had them taken out when he was evading. See? Just a trick for tourists. Oh, you're all right, Madam. I think so. Mama, Mama, your tonic. No. I am serious. As am I. What are you going to do? Stay here and live with the gypsies? I am not a gypsy. Well, whatever you call them here. I am not a gypsy. I'm a businessman, and this is my shop. Very sorry. Come along, Mama. You need to rest. We are going up the Nile. No, we aren't. I hired Mr. Soteta and Ismael to take me. You may come if you wish. You cannot be serious. But that's impossible. You don't have any— she sees the person, sir, who has his hand. May I speak to you? Miss Blake. This does not concern you. Perfectly well, but I'll let that for my dowry. Yes, I thought it should go to some use. What do you think it has been doing these five months? What do you imagine has been paying for your bed and your tonic and your warm and air and air that you are breathing? Thank you. As it is, I doubt there will be enough left for a halfway decent trucelle. I have left you enough for the journey home. And no more than that. How am I to live? Where? On the streets, I suppose, until the aniority comes. Where shall I help them address the check? To Piccadilly's circus? You might write to cousin Mary and stay with her. And play the spinster art? I asked you to come with me. You would rob me of all hope. I have robbed you of anything. It is not something you haven't already given up. And I suppose I want it, might be I'll say, to be lost at sea. People who are lost at sea do not first write love to that effect. I warn you, I will leave you here. Go ahead. How long is your contract with her? Eight weeks. And when do you leave? Today. I don't suppose you have any sort of letter of reference. As a matter of fact. Right. Well, I will leave you to send for my things. Of course. Scene five, Dahabia. An isle of river boat. Sales unfurl and filled with wind. Crate inboxes appear on deck. Along with items meant to give the impression of luxury. Cushions, feathers, crystal, candles, etc. One area becomes the weather's cabin. Another becomes our tether's cabin. His mail does not have a cabin. We shall have to bind to the netting very tightly, mama. Just so. Do you see? Do you suppose we shall see a harem? Miss Edwards describes the concubines. You should certainly hope not. Remember what the corals said about the warry tribes. Oh, now that would be something. We do not have to stay here. Yes, isn't it wonderful? Did you consider the crocodiles? I will before I go for a swim. I suppose you think that's funny. Ismail enters Sir Tessa's cabin with keys. Do you lock the hold? Yes, sir. What is it? I would like to know how far south we are going. Why? August is in six weeks. And? I'd like to know where we will be in six weeks, sir, in August, so I can make my plans. You will want to check your numbers again. See? The book says you've got until the end of the year at least. See there? Sir Tessa shows Ismail's book. My counting says August. That was before you lost that shipment, remember? When was that? You remember? How you fell asleep on the watch? No. You must have forgotten. Anyway, it's easy to lose track. I wouldn't be too embarrassed. You've got a lot on your mind. Sir Tessa hands him a red costume. Just concentrate on keeping the old lady happy, all right? That's what you need to focus on. That's the way you're going to pay off your debt, right? Well, your father's debt anyway. Anyway, the point is, we're a team here, right? And happy people are generous people, right? How it won't be too much longer. So why don't you just put on the red one and bring the old lady some tea? English ladies love tea. Ismail? Ma'am, please call me Mrs. Blake. Do you want some tea? No, thank you. I wonder if you could help me with something. You see, the book places the source of denial here in Uganda at Rippon Falls. Yes? Well, you see, when I was a child, the source was meant to be here in Abyssinia, which is quite a bit closer. If we are to reach the falls in four weeks, well, I'm trying to calculate how far we must travel each day. Do you see, if I'm not mistaken, we have to go at least 200 kilometers a day. It will be far. Is something the matter? No, ma'am. Excuse me. Ismail was off to change. Mrs. Blake, I was just going to call you. Is he all right? Oh, yes. Where is Mrs. Blake? How long will it take us to reach the source of denial? About a month. 30 days. Oh, give or take. If you follow me, it's almost sunset. What happens at sunset? Oh, it's an old, now, tradition, a very old tradition. We start off the night with stories and music. You'll love it. Where is Mrs. Blake? I do not know. Ismail, you don't want to miss the sun, do you? We need a song for the ladies. What's going on? This is an old riverboat tradition. We sit here on the deck and we sing the day into night, and we give thanks for both. Where is your guitar? I don't know. Well, where did you put it? Never mind. Just get the flute. It's always something. It's all right. He doesn't have to play. He likes it. They're accustomed to play music out of joy. Really? Well, what should I play, sir? Just play. Ismail begins to play as the sun nears the horizon. The music is complicated and disturbing. It takes on a life of its own, separate from Ismail. He begins to sway apart and into his own world. He moves, striking aggressively coquettish poses, all direct to that Sylvia. Ismail moves close to Sylvia and dances around her. The sun sets. You said there would be a story. Oh, yes. Well, that was only the first part. Oh. Wait till you see this next part. He makes the figures himself, and the world... Well, you'll see. Are you ready, Ismail? Good. And now, ladies, for your viewing pleasure, a story of the desert. As Ismail tells the story, the others listen, enchanted. As the story builds, he begins to place him in the roles of the characters. Once, there lived a man in a small village. Oh, I think I know this one. Shh. The village was a lone in the desert, in the world. And when it moved, it moved here and there with the goats as they wandered. Every day, the man would ride out into the hills with his mule, gathering fuel and wood for his family to search. I do. They were very poor. It is Ali Baba. Not bad. He did this every day, until one day, as he rode, he saw a cloud growing out of the horizon. It grew and it grew. It got closer and closer until finally, he could just see the figures of it. Men on horseback! Silvia joined the pantomime, and the others followed suit. Forty of them, they were coming towards him like a storm. Like a storm of dust, and he was afraid. And the king of the thieves dismounted his horse, and walked up to the cave and said, Mama, you're interrupting. It is quite thrilling. He discovers the treasure next. Up above, the man saw a tree. He climbed, and he hid, and he watched. You see? As the men rode straight into the village, where they found the women and children, all alone. No, he... As the men were out in the field, cheering their herd. That is not right. The man rode as fast as he could back toward the village, to his family. That is not what happened. Silvia steps out of the pantomime. She tries to reposition Sarataz and Fanny into her story, while Ismael brings them back to the hiz with each line of sneaks. But his mule was no match for the horse. He rushed toward his house, and called out to his family. He went up to the cave, and called out open sesame. He rode through the village, and as he rode, he smelled a smell of rotting sweet garlic, and he wondered what it was. No, he found piles of golden coins, and he loaded them onto his mule, and he rode home a rich man. The streets were silent, and the man thought to himself that the raiders must have captured every last person. I am quite sure... Shhh! I want to hear! This is all wrong! But then, just as he was about to ride away, he heard a sound, like a goat bleating. Unless, is this where the brother is murdered, and cut into quarters? Mama! It was coming from behind the man's house. He went and he looked, and there, on the ground, he saw his wife. His wife? Fanny becomes the wife, and Sarataz becomes the raider. And a raider, together on the ground. No! She was wrythriding in pain. Her legs were twisted under her, and between them, blood splashed across her thigh. Stop it! And she was bleating. I said stop it! The man called out for his children, but they did not come. Stop! Please! Someone help! Help! Help cried the man! Help! His wife turned and looked at him, but he could not look at her. He could do nothing but walk away into the desert. And so he did. It was quite marvelous! Didn't I tell you? Another one! Tell another one! Same six. Why did you tell that story? Hello, ma'am. It was not like Alibaba. Do you want tea? Do you know Alibaba? Everyone knows Alibaba. Why did you not tell a story like that? You didn't like the one I told? No. It's just the story. Figures? Where did those figures come from? My hands. But they were alive. Ismael makes the shadow shape of an animal against the sail. She watches, fascinated. Oh, I see. He goes back to work. So the experiment was making a shadow in her hand. It was bad. Like this. That's good. Oh, you aren't even looking. Show me how, please. He guides her hands to make a dog. For a moment, they are playing together, each making a dog out of their hands. Oh, I used to love dogs. When I was a little girl, our neighbor's hound had a litter and my father bought one of the pups. A little bitch. We all fell quite in love with her. I know it is absurd to say so, but she had more expressive eyes than most people do. When she was old enough, Papa tried her at hunting, but I'm sorry to say, she was a disaster. Papa said she would see everything, but point at nothing, as if she were as enchanted by a leaf in the wind, as by the movement of a fox. When they came home, Papa was furious, but the dog was in her blip. I could see the echoes of the day. In her eyes, but a hunting dog that does not point is of little use. So Papa had her breath. She was always pregnant after that, pregnant or nursing for the rest of her life. Instead of moving from room to room, she would lie very still on the same hearth rug. Her body swollen, her eyes fixed on something imagined. The fox for hat, or a bird, were a memorable leaf. I do not wish to die like that. It was a wolf. Sorry? The shadow. It was a wolf, not a dog. Oh, of course. Oh, goodness. Listen to me going on like a... I am not just an old lady. Yes, ma'am. I want you to know that. I am not really deaf, you know? I pretend. Well, not pretend exactly. I just let them think whatever they think. Why? You know, I never really thought about it before. Because it gives me peace, I suppose. When I let them believe that I can't hear, they stop forcing me to listen. My mind is my own. And then when Fanny decided that my mind was softening, well, then I could really think whatever I liked. It's a kind of protection, isn't it? I don't know, ma'am. Yes, you do. You are not the only one who tries to disappear, you know. Well, you tell me a real story. And what do you mean? Tell me about yourself, about your life. I should like to speak to you as a person. As a person? Yeah. Why? Well, because I think you're interesting. I should like to know about you. We might be a great friend. I don't know any. Sir Tassel's cabin for trade. May I help you? Yes. We require fresh linens, mosquito nets without tears, a basin without a chip, and my mom must not be disturbed by pounding between the hours of two and six in the afternoon. She's quite frail and needs to rest. Anything else? Yes. There's no lock on our cabin. You want me to lock a curtain? Well, we need some sort of protection. That's why I'm here. I would like a gun. Oh, no guns on board. They keep me awake. You have one. I'm the captain. Of the boat that we rented. Why don't you go out on deck and have some tea? Very well. How much for yours? It's not for sale. I thought everything was for sale. Interesting. What? I've never seen a lady try and bargain. I wasn't. I do not. Really? Don't ask you. What do you know about England? What's it like? I've never been there. Oh, can you see me there? Can you see me as some kind of gentleman? Maybe in a little village? Riding horses, raising chickens. Can you see that? I think you would be very good with the chickens, sir. I think so too. All we have to do is just keep them happy for a while. The old lady's sick. Did you know that? And what about you? What do you mean? I don't know, sir. Oh, you must have thought about it. There's no debt. You've got all the money you need. Where do you go? What do you do? I don't know, sir. You could take over here. Manage the boat. Maybe even have one of your own one day. Think of that. Well, you'd better think about it. I mean, sooner or later, I won't be here to take care of you. You know what? Never mind. Here. Why don't you go tell some stories to the old lady? I was right. About the red. This study, Murdie, Murray's Guidebook. Fanny Inters. Sylvia, I need to go. Where is my book? Your what? My book, Mama. You had it earlier. I know I had it earlier. It was here. I put it right here. Do you think he has taken it? To prevent you from identifying rare birds, no doubt. To bex me or to prevent an escape. Are we escaping? We must be prepared. For what? Well, if I had the book, I could tell you. He has a gun. I imagine so. I understand there are crocodiles in the water. You do not understand anything. Oh, don't let me interrupt you. Go on, as you were. I do not understand her. Why must there always be a threat? Always. She cannot just take in the world. And it has always been this way. It cannot be my fault. As an infant, she would refuse to go to sleep in her nursery. So convinced was she that there was a wolf living in the flowers in the wallpaper. Nothing I or anyone said could convince her otherwise. There is no wolf? Well, of course not. Anyway, I thought it would improve as she grew, but no. She still insists on seeing wolves in flowers. You know, she thinks Mr. Certeza is plotting against us. Why? That is just how she is. Always searching for a threat. You know, I think she has to expect him to shoot us in our fleet some night. Ridiculous. I mean, he really is a good man, underneath, don't you think? Yes, ma'am. You know, I think that's the whole trouble. If we only took the time to truly know one another, why there should be no need to fear wolves. For example, who taught you to tell that story? My father. He must have been very talented. Yes. Where is he now? He walked into the desert. I thought you said that story wasn't true. I never said that. Oh, it smells. I'm so dreadfully sorry. Why? Did you do it? No, I meant I synthesized. Thank you. Was it very terrible? Yes. Did they kill a lot of people? Yes. Everyone? Yes. Even the women? Yes. And the children? Yes. And even the baby? Yes. How? How do you think? Oh, how awful. I have heard that people are quite savage in these things, that they very often kill and ravage and so forth. Yes. But not in that order. They tortured everyone. And then they raped them. And then they killed them. Gee. Oh, no. Thank you. In this cabin, sir, does the wolf look any popular? I wouldn't. It's easy. I wouldn't know where to begin. Just say a number. Well, it depends. On what? Who am I? The buyer. Yes, but what sort of buyer? Yourself. All right then, nothing. You can't start with nothing. Why not? Because you have to start with something. Why? Because that's how it works. Sir, tell the tape about a notebook. Here. Write down the most that you would pay for that feather. It's pretty, isn't it? Yes. You know, the Bedouin brides wear those in their hair. Do they? Did you write it down? She writes. Now, what if I told you that this feather is from the tail of a peacock that belonged to Cleopatra herself? I wouldn't believe you. No. No. Why not? Where is my book? What book? Oh, the one with maps and warnings against evil dragons. Yes. Did you ask your mother? She was reading it yesterday. Does she know you're looking for it? She must have forgotten. You didn't write your bid. She starts to write. Let me see it first. Serge has a hold about the feather. She lifts it red lightly on her hand. There was one exactly like this in the hat shop at Highbury. You won't find this in a hat shop. This feather came from the personal menagerie of Cleopatra, a woman without equal. From that day to this, beautiful, shrewd, brave, they changed. She was the most striking in her prime. I think the most beautiful women are shaped by living. Yes. On Tuesdays, I walked to town by myself, you know, to the Greengrocer. I don't mind the walk. It's a chance to look in the shops. I managed the entire household myself, so I priced everything out before I leave. And if it happens to be a bit awkward, I'd just say, oh, no beef this time, Mr. Fuller, I'd say. It disagrees with my mom. Better just make it plain chicken. You can do quite a lot with chicken, you know. And you can serve it to company if you give a little apology. And if I planned things just so, perhaps I'll be able to not buy a new bonnet, but a nice blue ribbon to smarten up the old one. Just a ribbon or something. No matter how I plan, there always seem to be just enough. Just exactly enough. And then on Tuesday, my cousin Mary was in line behind me, and she was talking of her daughter's wedding clothes. I remember when she was born, that I was so distracted that I didn't look in the case, and I didn't notice that the price of chicken had gone up two shillings since last week. But a lady does not know the price of chicken. And anyway, I didn't have... Well, you understand. So when Mr. Fuller totaled the bill, I just laughed, I said. Silly me. What a simpleton I am. Mama told me just this morning that her doctor has warned her against sugar. And you know, she has such a sweet tooth. We cannot even keep it in the house. I must have my memory checked. Just the chicken, please, and half a pound of barley. Mr. Fuller never even blinked. But then when I got home, there it was. A little packet of sugar slipped in with the rest. And of course, from then on, I had to smile at him just a little bit brighter. People are always so nice. But one way or another, we pay, don't we? But listen to me going on. She hadn't backed the feathers. You don't have to do that for me. He gently places it in her hair. She exits, leaving the notebook behind. He picks it up and reads the page. Mr. Taz, uh... Hello, Mrs. Blake. Yes, hello. Do you want some tea? A moment, please. I have some questions. How far are we from the first cataract? A couple of days. Two? Something like that. Would it be faster to go ashore and find some camels? Not here. Why not? In this area, the tribes are very hostile. I read that some of them support our presence. Some do sometimes, and none do all the time. There are really no sites here. You promised to take me all the way to the falls. That was our agreement. And I will, Mrs. Blake. Yes, but by my calculation, we should reach the first cataract by... Did you factor in the variables? Variables? The current and water level and the wind. When the water is low like this, we have to be careful how we go. I can't make the wind blow any harder than that. Is it true that the tribes are warlike? No. It depends. On what? If there's a war. If there are war now. You tell me. You are English. Have you ever seen a camel close? In Cairo. You wrote it? Not yet. He would not like it. There must be some way to make the goat go faster. The seras are our bull. I will not sit here doing nothing. Sylvia moves towards the start and starts removing her outer skirt. What are you doing? Man. There are crocodiles in the water. So I've been told. Man. Oh, it is so warm. Mrs. Blake. Oh, you must come in. It is not safe. You come and get me. Mrs. Blake. Why do I try? I could sell you, you know that? I could sell you an astronaut with the rest of the cargo and just cut my losses. How much do you think I could get? You're supposed to be paying off your debt not adding to mine. No, you have nothing to say. But maybe I should sell you the last one. Maybe that would be much better than that since it's clear that you'll never survive behind your own. Say something. Excuse me. Is that what you want? Isn't it? No, it's a boy. I'm going to go home. He is only a child. This is a different world, Mama. It is a different country. That is all. That is how things are here. You're the one who wanted to see something, remember? You cannot think and choose. See it, yes. Accept it, no. What is that? Where did it come from? Do you think you should be accepting gifts? I don't see why not. I do. Where is my book? Have you misplaced it again? Do not pretend that you do not understand what I mean. Well, I do suffer from sporadic but acute dementia. All right, then keep it. Very admire yourself. I like it. You look ridiculous. I did no better. I think you were jealous. I am not jealous. I am your mother. I'm just trying to remember a time when it was true. Sylvia, that book is to main deck. It is empty. She takes the book from her pocket and tries to drive the pages. Say something! Say something! Care! Care about your goddamn life! Let me tell you something. It won't be nice old ladies out there. I know. You don't. You never had to. Do you know what I had to do just to keep myself alive? Just to eat? Do you have any idea? It all would take to go back. It's just one turn of their heads. You don't see that. We are balancing here. One thing, one tiny thing goes wrong and we could lose them. One bad shipment. Let me tell you something. You wouldn't survive a day out here without me. Don't you see that? You see it all right, but you don't care. Do you? Do you know what I had to do? Or did you think I was just making all that up? Just telling you bedtime stories to scare you? I wasn't. Jesus, what do I have to do? Show you? Do I? God damn it, I will. I'll show you. I'll show you! You know I don't like doing that. I don't. I don't know why you make me. Why do you have to make things so hard? Look, why? Why don't you get yourself cleaned up and see if the old lady needs some ice? Sophia tears one page at a time out of worries, letting the wind take them out of the river. Scene 7. Lights. It is a clear and starry night. It smells as alone on deck. Am I interrupting you? No. I wanted to tell you how sorry I am. I am very sorry. Do you get tired of saying that? Yes, I do. It wasn't your fault. Has that happened before? Often? We don't approve of any of this in England, you know. No? Certainly not. It will not happen again. How can you know that? Because I do. You could get away. I could help you. We could get back the rest of the money and you could take it and at Aswan, you could... It will not happen again. Your lip is bleeding. Here, let me. She uses her handkerchief to dab on his leg. You do not have to be such a man yet. Ben and Sir Ted's emerged. She wears it better. They're cold. No. We should go inside. What was that? Did you hear that? No. There's something in the water. A skip passing or maybe a crocodile. A crocodile? Really? Oh, let's go and see. It's so dark. By Aswan could be 50 kilometers away or it could be 5,000. It is not far. How can you tell? It's simple. Show me. That star? Well, we left Cairo. That star was there. See how far it goes? At Aswan, it will be there. It's funny. Somehow I thought the stars would look different out here. Do they? Not really, no. But there are more of them. It gives an impression of great height, does it not? Almost as if one might just fall off the earth. Do you suppose that is what death is like? I do not know. What do you imagine it is like? It will happen how it happens. Yes, I suppose so. When I was first married, I used to imagine it quite often. But you stopped? When the baby was born. And now, here you are. Yes. How exciting. I cannot remember when I saw a falling star. Everything beautiful is more so here. Back home, we have a scene. It's dinak berija dak li tarah sabi fil gozu tarah ikre li sadija. What does it mean? The world is nonsense. What looks beautiful in the morning looks ugly in the evening. That is very true. You are not from here? Martha. Is your mother all right? Yes, a bit melodramatic perhaps, but that's mama for you. She will recover. I of all people understand the occasional ugliness of necessity. That's hard for me to believe. Is there not more to fear when one has only a little? I don't know. There is. Miss Blake, I want to tell you something. You have to understand that. You do not need to explain. I do. When I first came here, I was alone. People looked like past me. The locals, the tourists, everyone. I couldn't eat. I would steal garbage, and when that wasn't enough I tried to catch stray cats. Cats are smart. Anyway, I started to watch them. The tourists. It wasn't easy, but I figured out how they worked and what they wanted and how to use it to get what I wanted. It took me years, but I did it. I got a boat. A very nice boat. Well, soon it will be all paid off and it will be my business, all of it. When you have something like that, you have to fight for it. You can't stop fighting. You can't stop paying attention, not for a second. You give an engine. They won't take a mile. They'll bury you in it. The more you have, the more they want. And that's how it is here. You're still wearing the feather. Yes. There's something I want to show you. I don't think I should. Only a minute. All right. Just wait here. Sir Tessa goes into his cabin and pulls out a beautiful blue silk robe. My father never walked into the desert. Oh, why did you say that he did? He was a big man, you know. My father rode camels like horses. He would lean and they would turn that way. They would follow him like baby goats follow their mother. He was the only one they followed like that. What happened? Taxes. And the rains left and the camels died and then more taxes, so here you are. Yes. Here I am. I am sure that he misses you. The day I was born he said he whispered my name and God's name into my ear so that they would be inside me. And every day after that he spoke the world to me. I would walk with him or he would carry me in. He would whisper everything that he saw into my ear so that they would be inside me too. Maybe so I wouldn't fall off the world. I never did that for Fanny. Why not? Well, she had a governor. Sir Tessa presents the road. Yes. Go ahead. I couldn't. It's real silk. It's real silk. I've been saving it for the person it should belong to. Look at it. It gets your skin. Well, Fanny listens to the robot. How do I look? Beautiful. Yes. Just like Cleopatra. No. Like you. It will be all right. When we get to the falls everything will make sense. How do you know? Because I know. Because it has to. A pain fruit shoots through Sylvia. What is it? Nothing. A meteor shoots across the sky. Oh, look, yes, ma'am. Look. Another one. Where? Did you see it? There. Right there. It's a sign. A sign that must be a sign. Of what? Fanny and Sir Tessa kiss. A Sylvia and Ishmael watch the sky. Yes. She wears the blue robe in an array of cheap accessories. Salah. Good morning. Good morning, Mama. I was just taking a turn about the deck. The air is so lovely this morning. How did you sleep? Not at all. Yes, in this heat it's been... Not even for a minute. Oh. Where were you? He wants to marry me, Mama. It's true. He wants to marry me and come and live with us. He is really a lovely person. He is very wise. I'm asking your permission. Anyway, he is not here. He's gone out to trade. There, you see? He's deliberately keeping us from reaching the fall. Oh, heaven's sake. For what purpose? I do not know yet, but I will discover it. Do not make yourself ridiculous. I? Sylvia takes in Fanny's costume. Fanny, please, darling, understand. I am only trying... Yes, I know what you are trying to do. Which bothers you more, Mama? My choice of groom or the thought of my happiness? You do not know a thing about marriage. I know what it is to be without its protection. And what will protect you from him? That will be my concern, not yours. After all this time, you cannot now pretend that... Did you hear something? Stop it, Mama. Outside? Perhaps it is Mr. Tenza. He won't be back for hours. Is there? Sir, they go out onto the den. Do you see anything? No. Wait, yes. Where? Oh, I cannot tell. She finds none. And throws it into the water. Who are they? Is it speaking to us? A beast. Carries a gross headscload of war spoils, including crocodile heads, human body parts, relics, a mummy, and Isabelle. Isabelle is bullet-torn and bloody too. As-salamu alaykum warahatu. Ah! Greetings, most noble Sahiba. Miss Blake, look, Isabelle. Miss Blake? Indeed I did not. What a cunning disguise. You know, as we approached, Isabelle was quite taken with the graceful veiled lady presiding over that boat. And, you know, she has had quite an anxious minister to the hair and concubines. An impression, I suppose. Precisely. Very festive. We had all but given up hope, you see, when we found the pages of your guidebook on the current. And here you are. And how are you, Mrs. Blake? Hello, Colonel. I cannot stay long, I regret to say. This respite must be brief, however... Colonel, I believe our dragoman is plotting against us. Oh, yes. Mama is confused. You know how she distrusts the local people. He has promised to take us to the source of the Nile, and he has not. A good thing, too. If I were you, I would give that fellow a hearty thanks for his foresight. But do you not know? Why, just south of here, Her Majesty's armed forces have become what you might say embroiled in a holy jihad. What? Insurrection, my dear. Insurrection and war. I will order tea. Yes. One of the natives has taken to calling himself the Messiah again. He has not taken any note of this, but the maggi, as he calls himself, has raised an army in Sudan, and they don't just parade around there either. No, this little fellow has already taken several cities, I'm afraid, and made a number of rousing speeches. His rhetoric is quite sound, like Wisconsin. And now, I'm afraid, he has entered cartoon. Cartoon? It's the captain. Good heavens, is it serious? Quite serious, I'm afraid. The Empire, civilization itself hangs in the balance. These things can spread like a virus, you know. Give it a month and they'll be all pounding their plates for home rule. How wonderful. You say that because you do not understand war, Mrs. Blake, gruesome business. Yes, I imagine it. You cannot imagine it. And she, Isabel. I brought Isabel along on this last campaign, you see. Quite a comfort and all that, but few women have her stamina. Right? Oh, yes. She was shot a few times, but only with arrows that were not very pointing. She'll be all right, won't you, my brave little girl? And she does have excellent stamina. However, war is no place for a woman, I always say. No, I'll not hear another word about it, Isabel. The poor creature refuses to leave my side. Absolutely no regard for her own welfare. Which is why it's so providential that we have run into each other this way. He hands Isabel to Fanny. Now, darling, you'll be quite safe here with Mrs. Blake. And then, of course, there are the artifacts. Artifacts? Yes, of course. Everything you see before you has been preserved for the Royal Geographic Society. I do believe it will be my most successful lecture series yet. The Colonel takes out a mummy. Now, this. This you must guard with your very lives. Is that? He bows to it. Well, I'd like to think so. I tried to treat it with due respect. You know, try not to drag around too much. And now I really must be off. Oh, but your tea. Some things, my dear, surpass even tea. Her Majesty's empire beckons. You will keep these things safe. Yes, of course. We must preserve what we can. I could not have put it under myself. Well... Oh, Lady Isabel, you must be tired. Fanny takes Lady Isabel to the ladies room. Sylvia tries to move the mummy. She struggles with the weight. Isabel comes to help her. I can manage. He helps her anyway. Thank you. What is happening? What he said. I saw your face. That is not the whole story. It means there is a war. Yes, a jihad. They are not the same. In a war, someone wins. And someone loses. God changes things. It moves. It moves together and closer. Always closer, but not touching. Like walking to a mirage. Closer to what? To God. Is that what he is doing, this man? I don't know. How do you know where God is? You listen. And you can hear it. Sometimes. Can you hear him now? He pretends to listen. She listens too. Sadness. I am trying to understand. Close your eyes. Where am I? Sylvia points at him. Now tell me when I am close enough to touch you. Is there a walk silently around her, spiraling closer and closer? No. Open your eyes. That's how. Their eyes meet. Silence. She kisses him. He reacts as if first. I didn't... Sing too. War. In the lady's cabin, Sylvia sits up. Agitated. Fanny sweeps in her silk robes on the deck. Ismail quietly intercepts him in his cabin. He searches it carefully. Trying not to make a noise or disturb anything. Sarateza enters. Exhausted. He has clearly been on the worst end of the fight. But he carries a red oleander flower. He moves towards the lady's cabin. Then sees Fanny. He approaches and watches her sleep. He gently strokes her face. Then leaves the flower beside her. And goes into his cabin. What are you doing? Cleaning. Stop. It's late and you should be asleep. You're not going to ask me how it went? How did it go? Ask me what happened? What happened? What happened? The goddamn Beja was what happened. It was goddamn sons of shit. That's what happened. You know, for a minute, I actually had myself convinced. Almost. I could trust them. But for a minute, I thought, you know this tribe. I thought, how many times have you done this trade? And instead of taking a round about way through the dry stream then, I thought, no. If you just cut straight across, you'll be done with it. And you'll be able to get back. So I cut straight across. Wasn't half a mile before I heard the camels. We ought to get a camel or a horse. What do you think? Camels are more practical, but I like a horse. And there'd be more use for a horse in England. I have to talk to her about that. Remind me. Anyway, they had camels. And they said they'd kill me if I didn't give them the hash. And I made them prove it. That's funny. Yes, sir. Do you know why it's funny? It's funny because I almost let them kill me. I could have just handed it over. All that hash and all that money. But I didn't. I made them prove it. That's what you have to do. Anyone comes at you, Ishmael. You make them make you lose. You make them prove they'll kill you before you ever give up. Understand? That's the only way to lose. What's in your hands? Nothing. For a minute there, I thought I wasn't going to make it back. They drove me out into the desert and left me. Not far, but far enough who could find their way back. For a while, I thought I might die there. And then I decided you make them prove it. So I started walking. And it wasn't 400 yards. No, no, more than that. Then I saw a little red, little red in the sand. I walked toward it and I saw it was an only ender. Growing right out there in the sand. I picked it up, I looked around and I realized I was in the stream bed after all. It brought me home. Isn't that amazing? Yes, sir. What's in your hands? Nothing. Show me. Ishmael doesn't. You aren't leaving this room with my purse. Did she tell you to say that? No. You really are as stupid as you pretend to be. Did you open it? Go on, open it. Show me the thanks you give for providing for you for all those years. Count it. See how little your stolen life will owe me. I've never stolen in my life. Do I have to tell you again how I got here? I will kill you. Go ahead. That's right. A man does not earn his freedom by sneaking off in the middle of the night. I've earned more than I will ever see. Yes, and how? By saying yes, sir, and yes, ma'am, and smiling like a whore. What did you say? Whore. Ishmael pulls the night from his pocket and attacks their tether. They fight, quietly, but fiercely. A full meteor shower begins. Fang waits and sees the sky. Mama! Mama! Come out here quickly! Are you alright? Isn't it wonderful? Ishmael stabs Sir Teza. Oh yes, it is wonderful. Sir Teza dies. Ishmael panics. Finally, almost as a last resort, he falls into prayer. Scene three, vigil. Night, quiet, stars. Slowly, Ishmael gives up. He takes off his costume and changes into simple clothes. He covers his head. Then, slowly, he begins to make funeral arrangements. He moves Sir Teza's body into a restaurant team. He washes the body and finds a clean sheet to cover it and starts to wrap it tightly. He looks at the dead body. Silence. He starts to punish the body but stops himself. He collapses into an exhausted visual assignment. Early morning. Ishmael rises and tries to lift the body. It is heavy and awkward. The family walks alone on deck searching the landscape. She notices the only engine and picks it up. Mr. Sir Teza! Mr. Sir Teza! She tries the door. It is locked. Ishmael comes out of the door quickly. Oh! I was just looking for Mr. Sir Teza. Is he there? Where is he? On the trade. Oh, but I thought he said he would be back this morning. He is not back. Oh, she looks at the flower in her hand. Perhaps you could help me? You see, Mama is indisposed this morning and I should like to retrieve her tonic. Don't you have it? Send me me. I broke the bottle and he was keeping our extra store. I don't know where it is. I'll take it away. Excuse me. You can't. It's all right. I'll show you. You will not mind. We spoke about it before you left. I'm sorry. You will let me in that room. No. Mr. Sir Teza! Mr. Sir Teza! Please! He grabs her. I told you. You can't go in there. I don't understand. What did you do to the mummy? She goes to the body. What are you? You don't know anything. Fanny's knees buckle. Ismael moves to help her. She sits in the space. He hits her. They are both stunned. He holds the knife to her throat. If I can do that to him, what do you think I can do to you? If you say one word. Yes. Swear. You have to swear. What do you swear on? You have to swear on something. Swear on God. I swear on God. No. It has to be something you choose. What do you love? There's nothing. I have lost. There's nothing now. I will kill you if you tell. Swear on your life. Swear on your mother's life. I swear. He releases her. Good. Now you help me. What do you mean? We have to put it in the water. She follows him into the cabin. He tucks her tizas purse into the funeral cloth. Together and in silence they carry the body to the side and lift it over. The cloth comes away from the face. Ismael vomits into the water. Fanny watches. Lift. They lift it over the side and lift it into the water. Exhausted. Fanny starts to exit to her cabin. Where are you going? To bed. I did not tell you to. Do not worry. I will not tell. I am good at that at least. It's funny. I thought just for a moment I thought you was the mummy. She enters the ladies cabin and that is too much. It is a bad headache. I doubt the doctor will object. She gets into bed fully clothed. Are you all right? Perfectly. Sylvia goes out onto the deck. I think Fanny is unwell. Oh. I think perhaps she had too much sun yesterday. All this heat. Where is Mr. Sateza? On the train. I thought he would be back this morning. He is not back. Well, if we are still waiting I should like to go and get some fresh water for Fanny. We can't leave the boat. I do not need you to come. He told us the way in. The desert is not safe. Yes. Well, as soon as he returns then Ismael I wanted to say I am sorry. Why? I should very much like What? You tell me. What is it that you would like to help you? I have been thinking. All night I have been thinking and perhaps I was not meant to see the source of the Nile at all. I think perhaps I was brought here to help you. Ismael Let's go together. Where? We could go now. Take Fanny to Iswan and you and I could join the modest together. We could make things right here. Change things. We could find the rest of the money. Metal and paper. It can do good. It does nothing. Nothing changes. The world does not change. You only say that because you think that it is like this everywhere. Look around you. This is England. England is here. I will tell you why. Because of you. You, like your tea and you like your rugs and your salt and your men. They like their pipes. You are selfish. Yes, I know. But the world is changing. I can feel it and I know you can feel it too. You know nothing that I feel. The ladies' cabin two days later. Fanny sits with Lady Ismael decorating them with soaps and accessories. I think that one suits you very well. What do you think? Well, perhaps this one. No, wait, wait, I know. She puts the oleander in Ezzabel's hair. There now. Yes, it is beautiful. It was a gift. I won't tell you that. But it, however, it does suit you, I must say. You look very beautiful. Like a queen. You were not so charming and my very particular friend. I do think I should be jealous. My dear, you want to say such things. I should tell Mama. Sylvia enters, hearing a picture in power. You're up. Hello, Mama. How is your headache? Well, good. Darwin, what are you doing? Lady Isabel and I are dressing. It is quite late. We are not tired. I brought you some water. Thank you. Aren't you going to drink it? You don't see that we are occupied. Sylvia goes to open the window. Don't! It is too hot in here. It is too hot out there. Where is my tummy? Why? You know perfectly well you have not taken it since Cairo. You are flushed. Sylvia goes to the window. No! Just some air, darling. I told you we do not want any air. Come to bed, Sylvia. I am not tired. Then you go to bed. I am about to lose my patience. Lose it then. Perhaps when you look forward you will find your tonic. Why are you here anyway? Isn't your young man waiting? You are exciting yourself. Do you love him the most? Better than me? Drink your water. The death is ending. She knocks on Sir Tessa's door. His mail comes out. It has been two days. Do you suppose something has happened? Things happen sometimes. Fanny is really ill. If he should not return. What is the problem? I cannot tell. She is not engaged and feverish. She will not eat. She has not come out of her room. She will not even let me open a window. There is a smell. You are a mother. Tell her to eat. She does not listen. She needs fresh water and food. That is another thing. I can hardly find anything that is not spoiled in the heat. We really must go ashore and find a market or something. Then how will we live if he does not return? We must leave it once. You must take us to Aswan. You can leave us there and go on to Cartoon yourself. I cannot do the vote alone. It takes a man to steer and a man for the sales. What about me? Hugh. She looks up at the sales. I have watched you do them a dozen of times. With practice I am sure I could manage. Sure week. That is my concern. I need time to think. But we really must start immediately. I am afraid. Tomorrow maybe. You are not even trying. I said I need to think. Late night. Scene 4 of crocodile team. The death is in the deep. Bandit takes out of the ladies cabin with Isabel. It is all right, Lady Isabel. Everyone is asleep. Sit by me. So do I. You do not have to be afraid. It is only the crocodiles. We are quite safe here. And anyway they have no teeth. It is a trick you see. Just a trick for the tourists. They cannot harm you at all. Isn't that funny? Beautiful, isn't it? I did not think so at first. But it is. Mama said she could imagine the source of it. Can you? Very often one can see the beginnings of things, isn't it? Endings are easier. I had a letter from my fiancé. When my fiancé was lost at sea. Do you remember? Oh, but you have not met him. He was very tall. But even a letter is not an ending. Not really. In novels the end is a wedding. Is that an ending or a beginning? In any case. It should be beautiful. Mine will be beautiful. You are beautiful. You must wear your blue robe. And you must wear a flower here. And you must stand just there. Benny puts the only ender in Isabel's hair. Yes, just so. Oh, but not yet. We must wait for the groom, of course. Let us keep watch. If we are very sharp we will see him before he sees us. And then we can surprise him. I don't know what that will be. Oh, yes, I hear it. I told you. It's only the crocodiles. Do not be afraid. I'm here. We are quite safe. Fanny rocks Isabel and hums to her like a child. Early morning Fanny and Isabel have fallen asleep on deck. Sylvia enters. She lashes the wheel then looks up at the mast. She begins to climb as this mill has done into the rigging. She slowly, working through the pain as the morning light makes her shadow large and to sail. She looks out and takes it into the river. She unfurls one sail then another. They sail to Quinn. Fanny waits and sees that the boat is moving. Stop! Stop! It's all right. Stop it, mama. Stop! What are you doing? Come down. Promise to take us to Aswan. We cannot leave him here. I will not leave him. Ask him. Ask him what is in the water. What does she mean? Ask him. No. I know. Tell him to show you. Show me what? Isabel? Nothing. He is lying. If you do not show me, I will imagine the worst. Do you still think it matters what you imagine? I can help you. Whatever it is. You think that. I will try. Then come down and see. Isabel opens the door, revealing bloodstains. Dad, I told you, didn't I? Did he attack you? No. No. You don't want to understand. There is a difference. Now do you see how things are? I told you. Come along, Fanny. Where? We are going. We are getting off this boat. In the desert? We can find a village. Do you see a village? Fanny has been moving slowly towards Isabel. He holds a knife to her throat. What are you doing? Tie her. There is a rope. Sylvia gets the rope and ties Fanny. You do not have to do this. She will not stop. She will. I will watch her. Isn't there a start to tie Sylvia? What are you doing? You are her mother. I am also your friend. I could scream. Someone would hear. They did. I could kill you both before they get here. Then they would kill you. They would try. You cannot manage the boat alone. You said so yourself. He struggles with the north. Pushing off against the banks of the river. The sails filled with wind. He runs between the sails and the wheel. Manage you with difficulty to steer the boat. Where are we going? Ismael? Somewhere else. Where? Fanny Isabel is afraid. Tell her story. Once upon a time there was a queen. Was she very beautiful? Oh yes, very. She was so very beautiful that the king himself chose her to be his bride. It starts with a wedding. Yes. Midday, days later heat, sun. The ladies are still tied. Fanny and Isabel have fallen into a delirious sleep. Sylvia is washing in Ismael. Struggled to catch the wind with the sails as he steers the boat. She has not eaten in two days. It's hot. And the smell. She needs a doctor. She looks all right. She wants us to die. Don't do that. What? Don't make me a tool. What? A person who dies, people depose? I have no choice. Everyone has a choice. You make yours. We could turn around. We could go back. To what? Home. So you can sit on a Cairo rug in an English room? Well tell me where we are going. You owe me that at least. South. But how long? Until what? Another boat? A village? Aswan? Cartoon? Serious. My daughter is ill. She needs water and food. And a doctor. In any way, you cannot do this alone. You know that. And you would help me. Yes. Why? Because I would prefer not to die here of exposure and scurvy. How would you prefer to die? Are you going to kill her? I hope not. That's good. Do you think he really is a savior? This Marty? I think we need saving. Yes. I do not believe I really understood until now how the world disappoints. How hope betrays. I have waited almost 40 years for this. I have waited and I have waited. And I may have lost my daughter for it. But now, here I am. And there it is. Just a ridder with fish. Night. Seen pride, saviors. Free dawn. Fanny and Isabel are asleep on the deck, still tied up. Moving with difficulty, Sylvia drags herself slowly across the deck to serve Tessa's cabin where Isabel is asleep. She moves close to Isabel and holds it to his throat. She cannot do it. Fanny wakes up, blood spreading across her skirt. Mama? Mama? What is this? Shhh. Are you hurt? What happened? No. Oh, you were bleeding. Shhh. You must be very quiet and very still. I will help you, alright? Sylvia cuts Fanny's bonds and cuts off her blood-soaked clothes. She tears off some of her own skirt and wraps Fanny in it. Sit still. Sylvia turns to go back to their Tessa's cabin. Do not leave me alone again! Oh, I never left you. You did! Shhh. You do not think I remember what I do? You remember what? I was very small. I would have terrible dreams. I dreamed that everything was black and it could not move or breathe. I would scream. I screamed and screamed, but nobody came. You never came. And finally I realized that my eyes were open and that the darkness of the room was not the darkness of the dream. You are my daughter. I love you. Please don't say that. It's true. I know that it is not. I didn't. I'm never Fanny. All I ever wanted was to save you. To save me? From what? From having to spend every night holding your breath. Papa loved you. You don't know anything about it. Fanny loved me. I know that. Papa loved me and he would have protected me, but he is not here and I am alone. You have me. No. You have me. What do I have? When my own mother told me that I was engaged, do you know what I thought? Now I thought I shall really see something. Now I thought I shall see the world. There in the parlor I saw everything. Paris, Venice, the Alps, the Nile and for a moment I was flying. But only for that moment and because my mother laughed and she said well, don't you want to know his name? I did not. But there was no honeymoon. There was a week in Brighton and the first of many long nights holding my breath. But I remember how it felt to fly. Oh, I remember how the wind pushed the water on the Nile as I swept across it. I remember how the moon looked in its surface. And yes, I did think perhaps I could escape. I could save. But then I felt something growing inside me. They would never let me go. Not now. I thought perhaps, just perhaps if I gave them something in my stead a baby well, that is something. Is it not? If I gave them a baby they will have to let me go. I remember I was turned looking out the window deciding whether I might not prefer Italy to Paris when the nurse brought her in brought you in. And I I took you in my arms and I looked at you and I knew you just like that. I knew you had my eyebrows and my fears and the peace of my soul and I could see that I was caught and that I should never escape. Oh my sweet girl I wanted so much to protect you from the sadness of my life. I never imagined you'd discover your own. I am sorry but I could not. If you had a daughter you would understand. But I don't. No. Now I never will. Oh perhaps one day, no. For a moment I thought I might but it is too late now. There is a weight in my bones. What do you mean? It spreads. Your rheumatism. But the doctor said and I thought it was mine to carry but I see now that it is yours too. I think perhaps I always saw that. I think perhaps that is why I brought you here so that you might find a way to live. Do not understand. That's all right. You are tired. Where are you going? You need fresh clothes. I will be right back. When? 100. All right. But you did leave. When? In Cairo. I am here now. Sylvia goes into the ladies cabin and searches for the trunks for clothes. Fanny, I noticed has crawled to the edge of the boat and is looking out over the water where Sir Richard Burton appears. Whee! Miss Blake! What are you doing? I saw him, Mama. Who? Riding on a boat of flowers. Oh, how nice! Come here. I can balance here. Don't move, darling. We are coming. What happened? She was unwell. Fanny steps off the edge into the water. Oh, Fanny! Fanny! Oh, God. Find something to cover her. I don't know. Why do you not see how we must care for each other? How we are caught together? Not together. Just caught. No, I do not accept that. If we could just stay here until... What? We stop somewhere or until someone stops here? They will take a side. But if there weren't sides... There are. Fanny? How did you cut the ropes? With the knife? She was going to kill me. No. Why? Because that is what side you are on. But I didn't. Why? Because I wanted you to be wrong. She takes the knife out of her pocket and throws it into the water. They watch it think. He hands her a cloth to dry Fanny. See? I told you. Did I not tell you? Do you see? Look! We are saved! Ismael moves towards the bill. He tries to turn it away. A huge lurch. The boat has been struck by something. A rope is thrown on stage. After a moment, the colonel enters. He is wearing a false beard and turban opening his mouth. He has to walk not in flowers but in human organs and appendages. Well, what's all this then? You see? I told you he would come. Didn't I tell you? It's the colonel, mama. Yes. The colonel tears off his false beard and turban. My chauve, you've got me, Miss Blake. You have found me out. Very good indeed. You will ask no doubt how I managed to travel so concealed among the modest. Indeed, they only once discovered me. And then it was quite a story. It was well worth the trouble. You see, a young boy was upon me urinating in the European manner to not ask me about the Egyptian customers, not from his company. And so I was forced to dispose of the child. Most unfortunate. But there you are. And I do believe that the war had not ended when it did. I might very well have perished at the hands of that angry mob. Has it ended? Yes, of course. You have not heard why Gordon is dead and Khartoum evacuated. A hero's death. And the Mardi. Oh, that is well. Well, thank goodness you've come, Colonel. You see, we've had such an ordeal. You see, our dragonman has been killed. Oh, yes? You see, the boy killed him. Well, he did, Mama. And I must say it much grieved me, too, for you see, he was my fiance and we were to be married. I can hardly tell you how tragic it was. But here you are, and all is well. Fanny, you are confused. Perhaps, my dear, you ought to well along and change. Oh, I am quite comfortable. Thank you. You will feel much better, I assure you. Well, yes. Perhaps you are right. You too, Miss Blake. I will stay here. The Colonel decides to lift her. He turns to Ismail and casually aims an enormous gun at him. Now, look here, young fellow. That's no way to behave with ladies present. You do not understand. What do you have to say for yourself? It was not his fault. There was an accident. Thank you, Mrs. Blake. However, I was not speaking to you. Well? I killed him. No. I am not sorry. I held his jaw back like this and I cut. Straight across. He was not a good man. He does not know what he is saying. I do. You see, there was an accident. He was... I slipped and fell, and he tried to save me, and he fell and... and he died. You are a lucky boy to have such a good friend as Mrs. Blake to speak for you. She does not speak for me. Well, in view of the circumstances, I am sure that Her Majesty will not object to a lenient hand in the matter. The admission of guilt speaks a kind of gentlemanly behavior, which must be rewarded after all. Yes. I think we ought to see about a place for you on the French railway scheme. There is much to be built, and I do not doubt that a strapping young boy such as yourself might easily find his place there. There, it's settled. Now, come along and help me collect my artifacts. Okay. Ismael, please. I'm going to make him prove it. We took only for a short time. Please, we do not have a choice. Would you like to hear a story? Well, I... Once there was a fool who went out for a walk. Down the road, he saw a man on horseback riding toward him. It was dark, and he was in a strange place. The men rode closer, so the fool climbed over a wall and said to him, What do you think? A fresh-dubbed grave. The men saw and they followed. They crept up to the edge and shone the lantern in the grave. The fool screamed, and the men screamed, and then they saw that they were... What do you think? Neighbors. Fool, said the men. We thought you were a thief. What are you doing here? The fool thought. I have a question. But I think I am here because of you. And you are here because of me. Ismael. Everyone has a choice. Slowly, Ismael starts to walk towards the Colonel. Now, now, stay where you are. I shall be forced to act. Ismael does not stop. Ismael, stop. Colonel, you must stop this. Now, stop, stop! Fanny appears in the doorway with no clothes, tidy, prim, and uncertain. Come on! The Colonel shoots Ismael. He falls into Sylvia, lowering him down to the ground. She holds him like a baby. It's all right. It will be all right. Why, Miss Clay, you look lovely. Do I? I can't imagine so, but thank you. I long for a hot bath. No, you shall have it. I'm going to read my artefact. And my wife, where is Lady Ismael? Oh, she died. I'm afraid. Did she? I did warn her not to chew on the oleander. I might have known. You know, she was a great favourite at the Lady's Aid Society theatricals. I suppose now I shall have to replace her. Let me help you. They take our loads of artefacts, including Lady Ismael and Exit. You really are so grateful you arrived when you did. Not at all, Miss Blake. Not at all. I must have you presented at the Royal Geographic Society. You must give a lecture. I am sure they will be very interested to know first hand the horrors of being held hostage by the modest. Yes, well, it wasn't bad as all that. For a while, Mama made quite a friend of him, you know. Oh, extraordinary. Where is Miss Blake? I think she's still on the boat. Friendly, Mama. You don't have to go back there. What do you mean? I do not want you to be caught. Everyone is caught, Mama. Fanny, I would do anything in the world for you. Do you know that? Ladies, are you ready? Yes. We cannot stay here. It is not our place. Are you ready? A moment. Well, hurry up then. I need to get Michael out. Come on in and join the Colonel. There too, giant shadows down. How long do you suppose it will take us to reach Cairo, Colonel? Oh, under a fortnight, I should say. If the Colonel keeps at this strength and borrowing any surprises, of course. I should like to make arrangements as soon as possible. I only hope Mama is not too exhausted by all the excitement to make the crossing. Yes, I dare say. Where is it you call home, anyway? A cottage. A little cottage in Highbury. You're joking. A fine lady such as yourself. Why, for heaven's sake, you must come and stay with me. I have so much room. How generous. Yes, I am sure we would like that very much. Sylvia takes the rope that leads to the Colonel's boat and throws it into the water. The Colonel and Fanny begin to drift away at the chatter, becoming larger and larger and more and more vague. Sylvia goes to Ismail and sits with him. The boys have stayed away. Silence. A meteor shoots across the sky into play. Silence. A meteor shoots across the sky into play.