<< *175 RONALD MILLAR : ABELARD AND HELOISE , SAMUEL FRENCH , LONDON , 1970 . 66 P. . FIRST PERF. : 190570 . CHAR. : 01 PETER ABELARD , 02 HELOISE , 03 ALAIN , 04 GERARD , 05 PHILI PPE , 06 ROBERT DE MONTBOISSIER , 07 GUIBERT , 08 GILLES DE VANNES , 09 JEHAN , 10 FULBERT , 11 BELLE ALYS , 12 ABBESS O F ARGENTEUIL , 13 SISTER LAURA , 14 SISTER GODRIC , 15 SISTE R CONSTANCE , 16 MARIELLA , 17 GISELLA , 18 ALBERIC OF RHEIM S , 19 BERNARD OF CLAIRVAUX , 20 DENISE , 21 HUGH , 22 MONKS AND NUNS , 23 SECOND STUDENT , 24 THIRD STUDENT , 25 CONGREG ATION , 26 FIFTH NUN , 27 CHILDREN , 28 VOICE . >> $ AND NUNS , 23 SECOND STUDENT , 24 THIRD STUDENT , 25 CONGREG ATION , 26 FIFTH NUN , 27 CHILDREN , 28 VOICE . >> $ #1 $ < ACT ONE > $ < SCENE ONE > $ < THE CHAPEL OF THE ABBEY OF THE PARACLETE , NEAR TROYES , F RANCE , IN THE YEAR 1131 AD . $ AN AFTERNOON IN LATE AUTUMN $ DARKNESS . $ THE SOUND OF MONKS SINGING IS HEARD , FOLLOWED BY NUNS SINGI NG . $ THE LIGHTING SLOWLY FADES UP . $ A DOVE , THE SYMBOL OF THE HOLY GHOST , IS SEEN ILLUMINATED ON THE SCREEN UPSTAGE . $ AS THE BRIGHTNESS INCREASES , A GROUP OF NUNS AND MONKS , MO STLY OF THE BENEDICTINE ORDER , FILE SLOWLY ON . $ THE NUNS TAKE UP POSITIONS ROUND ONE TOWER ; THE MONKS TAKE UP POSITIONS ROUND THE OTHER TOWER . $ ONE REMAINS UPSTAGE HOLDING A LARGE WOODEN CROSS . $ WHEN ALL ARE IN POSITION , THE FATHER ABBOT AND THE MOTHER A BBESS ENTER FROM OPPOSITE SIDES . $ THEY WALK SLOWLY TOWARDS EACH OTHER C . $ FOR A MOMENT THEY FACE EACH OTHER IN SILENCE , THEN THE ABBO T TURNS AWAY AND KNEELS . $ THE ABBESS KNEELS . $ THEY PRAY IN SILENCE . $ WHEN THE ABBOT KNEELS , ALL THE MONKS KNEEL : AND WHEN THE A BBESS KNEELS , THE NUNS ON THE TOWER FOLLOW SUIT AND THE OTH ERS BOW THEIR HEADS $ THE SINGING ENDS . $ THE ABBOT CROSSES HIMSELF , RISES , AND GOES UP THE STAIRS O F ONE TOWER TO STAND BY THE BALUSTRADE AT THE TOP , FACING T HE NUNS AS THOUGH IN A PULPIT . $ AS THE LIGHTS COME UP ON HIM , WE SEE THE ABBOT CLEARLY FOR THE FIRST TIME . $ ABELARD , AT FIFTY-TWO , IS OLD BEYOND HIS YEARS . $ HIS VOICE IS THIN AND SOFT AND HE SPEAKS SLOWLY , HIS MANNER GENTLE , HUMBLE , SIMPLE . $ THERE IS LITTLE TO INDICATE THE MAN HE WAS , OR FOR THAT MAT TER STILL IS , INTELLECTUALLY . $ FOR HERE , STILL , IS THE KEENEST INTELLECT IN EUROPE . $ HE RAISES HIS HANDS . $ THE NUNS AND MONKS TURN TOWARDS HIM . $ THE MONKS KNEEL . $ ALL BOW THEIR HEADS > $ 01 EXSURGE , DOMINE , ADIUVA NOS , ET LIBERA NOS PROPTER NOM EN TUUM . $ 22 AMEN . $ < ( THEY RAISE THEIR HEADS ) > $ 01 REVEREND MOTHER , BELOVED SISTERS IN CHRIST , WHO HAVE MA DE THE LONG , HARD JOURNEY ACROSS THE PLAINS OF FRANCE TO TH IS , OUR ABBEY OF THE PARACLETE - HAVING BEEN CRUELLY AND WR ONGFULLY DISPOSSESSED OF YOUR CONVENT IN ARGENTEUIL , WE , Y OUR BROTHERS IN CHRIST , DO HEREWITH FREELY , JOYFULLY AND W ITH LOVE SURRENDER TO YOU THIS , OUR ABBEY , WITH THE PRAYER THAT YOU MAY HERE FIND A REFUGE AND A PLACE OF PEACE . $ < ( HE LOOKS DOWN AT THE ABBESS ) > $ AND WE DO NAME YOU , REVEREND MOTHER , BELOVED SISTER , WHOS E PIETY , HUMILITY AND DEVOTION TO GOD ARE UNEXAMPLED , FIRS T ABBESS OF THE PARACLETE , FOR AS LONG AS YOU SHALL LIVE . $ #2 $ THIS WE DO IN CHARITY , BEFORE GOD , AND IN THE NAME OF HIS HOLINESS POPE INNOCENT THE SECOND , GIVEN UNDER HIS HAND ON THE TWENTY-EIGHT OF NOVEMBER , IN THE YEAR OF OUR LORD ELEVE N HUNDRED AND THIRTY-ONE . $ AND NOW , BEFORE WE , YOUR BROTHERS , TAKE OUR LEAVE OF YOU , LET US PRAY TOGETHER FOR THE BLESSING OF ALMIGHTY GOD UPON THIS , YOUR NEW AND , BY GOD'S MERCY , YOUR ENDURING HOME . $ LET US PRAY IN SILENCE . $ < THE NUNS AND MONKS BOW THEIR HEADS . $ ABELARD COMES DOWN THE STAIRS AND KNEELS . $ AS ABELARD KNEELS , THE NUNS AND MONKS RISE AND TURN UPSTAGE . $ WE HEAR THE SILENT THOUGHTS OF THE ABBOT AND ABBESS IN COUNT ERPOINT > $ < ( INTIMATELY ) $ ETERNAL FATHER , WHOSE LOVE IS SO STRONG , SO DEEP , SO RAVI SHING THAT , LIKE A CRUCIBLE , IT BURNS AWAY DOWN TO THE VER Y MARROW OF THE BONES , ALL EARTHLY LOVE , GRANT TO US WHO W ALK THE WAY OF THE CLOISTER THAT PURITY OF SOUL WHICH ALONE ENABLES US TO CONSECRATE OURSELVES TO THEE , O GOD OUR STREN GTH AND OUR REDEEMER . $ < THE MOTHER ABBESS RAISES HER HEAD AND WE SEE HER FACE FOR THE FIRST TIME . $ HELOISE IS STILL A YOUNG WOMAN . $ SHE IS , ALSO , STILL PALELY BEAUTIFUL , THE EYES AS DEEP AN D HAUNTING AS EVER . $ AS SHE SPEAKS , THE NUNS AND MONKS TURN DOWNSTAGE TO LOOK AT HER AND RAISE THEIR HANDS IN FRONT OF THEM , SHOULDER HEIGH T , PALMS OUTWARDS > $ 02 I 'VE NEVER BEEN VERY INTERESTED IN GOD . $ THESE LOVELY , EMPTY RITUALS MEAN LESS TO ME THAN ONE MAN'S GLANCE , A SINGLE TOUCH OF HANDS . $ PETER , PETER , WHO ART HERE BESIDE ME , HALLOWED BE THY NAM E , THY WILL BE DONE ON EARTH - ON EARTH - FOR WHAT ELSE IS THERE ? $ < THE NUNS AND MONKS LOWER THEIR HANDS . $ THE MONKS KNEEL , HEADS BOWED > $ 01 ... AND MAY THY HUMBLE SERVANTS , LORD , PROCLAIM THE TRU TH OF THY GOSPEL WHICH SAYS : " LOVE NOT THE WORLD , NEITHER THE THINGS THAT ARE IN THE WORLD , FOR ALL THAT IS IN THE W ORLD , THE LUST OF THE FLESH AND THE LUST OF THE EYES , AND THE PRIDE OF LIFE , IS NOT OF THE FATHER , BUT OF THE WORLD . $ AND THE WORLD PASSETH AWAY , AND THE LUST THEREOF , BUT HE T HAT DOETH THE WILL OF GOD ABIDETH FOREVER . " $ 02 IS THIS THE END OF THE STORY ? $ < THE MONKS AND NUNS TURN TO LOOK AT HELOISE , THEN TURN THE IR HEADS AWAY AND RAISE THEIR RIGHT HANDS TO SHIELD THEIR FA CES > $ CAN IT BE THAT WE WHO HAVE KNOWN THE WARMTH AND SWEETNESS OF EACH OTHER'S BODIES , AND ENDURED THE AGONY OF SEPARATION , HAVE COME AT LAST TOGETHER ONLY TO PART AGAIN ? $ PETER - $ < THE NUNS DROP THEIR SHIELDING HANDS AND BEGIN A LOW HUMMIN G . $ THE MONKS DROP THEIR HANDS , RISE , AND MOVE UPSTAGE , HUMMI NG > $ - O MY DARLING , LOVE ME , LOVE ME , STAY WITH ME . $ I THINK OF YOU ALWAYS , PETER . $ AT MASS , WHEN PRAYER SHOULD BE PUREST - AND ALONE AT NIGHT , IN MY CELL AT NIGHT , PETER , IN BED , SOMETIMES THE VERY MOVEMENTS OF MY BODY - I KNOW IT 'S OBSCENE . $ #3 $ I KNOW THAT I SHOULD TREMBLE AT WHAT I 'VE DONE . $ I ONLY LONG FOR WHAT I 'VE LOST . $ < THE MONKS HALT AND STOP HUMMING . $ THE NUNS CHANGE KEY , HUMMING > $ DO THE OTHERS , TOO , LIE SLEEPLESS IN THEIR STILL , COLD CE LLS , FROZEN INTO VIRTUE ? $ DO THEY , TOO , LONG FOR SOME HUMAN NEARNESS , TO CALL BACK YESTERDAY ? $ < THE LIGHTING FADES TO A BLACK-OUT EXCEPT FOR A SPOT ON HEL OISE $ THE MONKS , HUMMING , FILE OFF . $ ABELARD EXITS > $ < ( WITH A CRY ) > $ O GOD , I DON'T BELONG IN THIS SPIDER'S WEB OF A LIFE , WITH ITS PANIC FEARS , IT 'S CAUTION , IT 'S OBSEQUIOUSNESS ! $ I DON'T BELONG , YOU KNOW I DON'T BELONG ! $ < ALL STOP HUMMING > $ I 'M THIRTY-TWO . $ A YOUNG WOMAN STILL - YOUNG AND FULL OF LIFE . $ THEY THINK ME CHASTE , GOD . $ THEY CALL ME HOLY . $ THEY SEE WHAT I DO : THEY CAN'T SEE WHAT I THINK . $ < SIX STUDENTS MARCH IN TWO BY TWO , DOWNSTAGE , MARKING TIM E WHEN THEY ARRIVE IN POSITION > $ GOD , NOTHING IS GOOD SAVE THAT WHICH IS DONE FOR THE LOVE O F YOU . $ ISN'T THAT SO ? $ WELL , HELOISE DOES NOTHING SAVE FOR THE LOVE OF HIM IN WHOM SHE LIVES AND MOVES AND HAS HER BEING . $ ONE NAME ONLY ECHOES IN THIS SOUL . $ < THE STUDENTS SLAP THEIR THIGHS IN RHYTHM : DA-DA ; DA-DA-D AH ; DA-DA-DA-DA ; DAH DAH > $ NOT YOURS , GOD . $ O GOD , NOT YOURS . $ < THE STUDENTS CLAP THEIR HANDS IN THE SAME RHYTHM AND WHISP ER " ABELARD " , THEN CONTINUE DOING THIS BETWEEN EACH OF HE LOISE'S " ABELARD "S AND , BEFORE THE LAST " ABELARD " M STA MPING THEIR FEET IN THE SAME RHYTHM , CRESCENDO > $ ABELARD ! $ ABELARD , ABELARD , ABELARD ... $ < THE LIGHT FADES ON HELOISE AND SHE EXITS > $ < SCENE TWO > $ < OUTSIDE ABELARD'S LODGINGS IN PARIS . $ SOME FIFTEEN YEARS EARLIER > $ THE VOICE OF HELOISE MELTS INTO THE VOICES OF THE YOUNG MALE STUDENTS , WHO MOVE DOWNSTAGE , CHEERING AND SHOUTING , AS TWO OF THEIR NUMBER BEAR ABELARD SHOULDER HIGH TO HIS LODGIN GS . $ HE IS DEPOSITED TRIUMPHANTLY AT THE TOP OF THE STEPS TO FURT HER CHEERS AND CRIES OF " SPEECH ! $ #4 $ SPEECH , MASTER ! $ SPEECH ! " . $ ABELARD , AT THIRTY-SEVEN , MASTER OF THE SCHOOLS AT NOTRE D AME , IS AT THE PEAK OF HIS POWERS AND ENTIRELY AWARE OF THE FACT . $ THE VOICE WE NOW HEAR IS STRONG AND VIBRANT AND HE IS DRESSE D WITH CONSIDERABLE ELEGANCE . $ APART FROM THE TONSURED HEAD , THERE IS NOTHING OF THE CLERI C ABOUT HIM . $ HE LOOKS DOWN AT THE STUDENTS CLUSTERED ROUND THE STEPS WITH THE AMUSED TOLERANCE OF A MAN WHOSE AUDIENCE IS , IN EVERY SENSE , AT HIS FEET . $ THE CRIES OF " SPEECH " ARE RENEWED > $ 01 NO , NO , GENTLEMEN . $ NO MORE SPEECHES . $ < A GROAN OF DISAPPOINTMENT GOES UP > $ NO , I 'M SORRY , BUT TWO LECTURES A DAY IS ENOUGH . $ BESIDES , I 'M DRY . $ 03 < ( A STUDENT ) > $ MASTER , WHAT 'S YOUR OPINION ... $ 01 I 'M ALSO HUNGRY , AND WHEN THE BODY CALLS THE MIND MUST WAIT . $ THANK YOU FOR THE RIDE . $ < ( HE WAVES AND TURNS TO GO UP ) > $ 03 JUST ONE QUESTION , MASTER . $ SHOULD A PRIEST MARRY ? $ < THERE IS A MURMUR FROM THE STUDENTS . $ THEY KNOW WHAT IS COMING > $ 01 < ( TURNING BACK IN SURPRISE ) > $ I THOUGHT IT WAS PHILOSOPHY WE WERE STUDYING , GENTLEMEN . $ 03 YES , SIR , BUT PHILOSOPHICALLY SPEAKING , SIR - THE TONS URE BEING A SYMBOL OF CONTINENCE - WELL , YOU ARE AN EXPERT , AREN'T YOU , SIR ? $ 01 ON PRIESTS OR MARRIAGE ? $ 03 ON CONTINENCE - YOU BEING A MEMBER OF THE CELIBATE COMMUN ITY , SIR , AND - WELL , I WAS WONDERING ... $ 01 < ( PUTTING A HAND ON ALAIN'S SHOULDER ) > $ TELL ME , ALAIN , WHICH ARE YOU PLANNING TO ENTER FIRST , TH E CHURCH OR MATRIMONY ? $ < LAUGHTER > $ 23 IT 'S NOT ALAIN , SIR . $ IT 'S CANON EVRARD . $ 01 EVRARD ? $ 24 HAVEN'T YOU HEARD , MASTER ? $ 05 IT 'S ALL OVER PARIS , SIR . $ 23 CANON EVRARD HAS MARRIED HIS HOUSEKEEPER , SIR . $ 01 < ( AFTER A PAUSE ; MILDLY ) > $ THEN I SUGGEST YOU TAKE YOUR QUESTION TO THE CANON . $ BETTER STILL , LOOK UP YOUR THEOPHRASTUS . $ HE 'S EXCELLENT ON MARRIAGE IN GENERAL AND WIVES IN PARTICUL AR . $ GOOD DAY , GENTLEMEN . $ 23 24 THEOPHRASTUS ? $ TELL US ABOUT THEOPHRASTUS , SIR ! $ GO ON , MASTER ! $ TELL US , MASTER ! ETC. $ 01 < ( TURNING BACK GOOD-HUMOUREDLY ) > $ WELL THEN - BUT BRIEFLY . $ NO YOKE BEARS HEAVIER ON A MAN THAN MARRIAGE . $ TO FEED A POOR WIFE IS A BURDEN ; TO SUPPORT A RICH ONE , TO RMENT . $ FOR IF SHE 'S BEAUTIFUL , MEN RUN AFTER HER , AND IF SHE 'S UGLY SHE RUNS AFTER MEN . $ < LAUGHTER > $ SO THAT A MAN HAS EITHER TO KEEP WHAT EVERYONE WANTS OR WHAT NO ONE WANTS . $ IN SHORT , SAYS THEOPHRASTUS , A LIFE DEVOTED TO THE STUDY O F TRUTH CAN'T BE SHARED WITH A WOMAN , IT 'S TOO EXHAUSTING . $ SO IF YOU WOULD SERVE PHILOSOPHY , GENTLEMEN , DON'T TAKE A WIFE : GET A GOOD SERVANT ! $ #5 $ < LAUGHTER > $ 04 OR A GOOD MISTRESS . $ < LAUGHTER > $ 01 < SERIOUSLY ) > $ NO . $ NO , IF YOU MUST LOVE , LOVE REASON . $ THE WORLD IS SLOUGHING OFF THE SKIN OF CENTURIES SLOWLY . $ IT LIKES NOTHING BETTER THAN TO LIVE LIKE A PIG IN A STY . $ < ( POWERFULLY ) > $ GOAD THE PORKERS . $ QUICKEN DEAD MINDS . $ IF YOU LOVE REASON , AWAKEN THOUGHT . $ IF YOU LOVE REASON , ACCEPT NOTHING BLINDLY . $ IF YOU LOVE REASON , PROBE , CHALLENGE , QUESTION THE UNQUES TIONABLE . $ AND IF YOU LOVE ME , FOR GOD'S SAKE GO HOME AND LET ME HAVE MY DINNER . $ < ( HE GOES UP THE STAIRS ) > $ < LAUGHTER ) > $ 24 GOOD NIGHT , MASTER . $ < WITH GENERAL " GOOD NIGHT "S THE STUDENTS DRIFT OFF , ALL EXCEPT ONE , ROBERT > $ 06 MASTER ! $ 01 WELL , A NEW FACE . $ WHAT 'S YOUR NAME , BOY ? $ 06 ROBERT , SIR . $ ROBERT DE MONTBOISSIER . $ 01 STUDENT ? $ 06 NOVICE MONK . $ ON LEAVE FROM CLUNY , MASTER . $ 01 A MONK FROM CLUNY ? $ I KNOW IT WELL . $ 06 I WAS AT CLAIRVAUX . $ I LEFT CLAIRVAUX FOR CLUNY . $ 01 NO ONE WHO KNOWS CLAIRVAUX WILL BLAME YOU FOR THAT . $ 06 IT 'S A COLD PLACE , CLAIRVAUX . $ COLD . $ 01 AND BERNARD OF CLAIRVAUX EVEN COLDER . $ BUT NOW YOU 'VE LEFT CLUNY ALSO . $ WHY ? $ 06 TO ATTEND THE SCHOOLS . $ TO HEAR MASTER ABELARD LECTURE AT NOTRE DAME . $ 01 I TRUST THE COURSE IS PROVING INSTRUCTIVE ? $ 06 THE GREATEST EXPERIENCE OF MY LIFE . $ I TRY TO TAKE DOWN EVERY LECTURE - WHEN YOU DON'T GO TOO FAS T FOR ME - AND MEMORIZE IT AFTERWARDS . $ " IT IS OUR CUSTOM IN OUR DAILY SPEECH TO SPEAK OF THINGS AS THEY APPEAR TO OUR EYES " - THAT 'S MY FAVOURITE . $ 01 < ( CORRECTING HIM ) > $ " SENSES . $ IT IS OUR CUSTOM IN OUR DAILY SPEECH TO SPEAK OF THINGS AS T HEY APPEAR TO OUR SENSES , RATHER THAN AS THEY ARE IN ACTUAL FACT . $ FOR EXAMPLE , WE SAY IT 'S A STARRY SKY , OR NOT , OR THAT T HE MOON IS SHINING MORE , OR LESS , OR EVEN NOT AT ALL , WHE N THESE THINGS , HOWEVER VARIABLE THEY SEEM TO US , ARE IN F ACT CHANGELESS . " $ 06 I 'D NEVER THOUGHT OF IT LIKE THAT . $ THROUGH YOUR EYES , IT - IT 'S A NEW WORLD . $ 01 I 'M FLATTERED . $ BUT TELL ME , BOY , DO YOU ALWAYS SWALLOW WHAT YOUR TEACHER TELLS YOU ? $ 06 IT DEPENDS ON THE TEACHER . $ ABELARD IS THE GREATEST IN ALL FRANCE . $ 01 < ( SHARPLY ) > $ IN ALL EUROPE . $ 06 HE ALONE TEACHES THE FAITH OF REASON . $ HE ALONE OFFERS A COHERENT VIEW OF GOD . $ HE ALONE HEATS THE SOUL AND LIGHTS THE MIND . $ HE ALONE ... $ #6 $ 01 YES , QUITE . $ QUITE . $ OF COURSE , IT 'S CONCEIVABLE - THOUGH NATURALLY IMPROBABLE - THAT HE COULD , JUST ONCE IN A WHILE , BE WRONG ? $ 06 NO , SIR . $ NEVER . $ NOT ABELARD . $ 01 I 'M BOUND TO SAY I AGREE WITH YOU . $ NEVERTHELESS - LITTLE MONK , I HAVE A SHOCK FOR YOU ... $ < GUIBERT , ABELARD'S SERVANT , ENTERS > $ 07 IT 'S ON THE TABLE , MASTER . $ 01 I 'M COMING , GUIBERT . $ 07 I 'VE MADE YOU A NICE OMELETTE . $ < GUIBERT EXITS > $ 01 I HAVE A SHOCK FOR YOU . $ PREPARE YOURSELF . $ ABELARD IS NOT GOD . $ 06 SOMETIMES I THINK SO . $ 01 < ( NOT DISPLEASED ) > $ YES , I THOUGHT YOU DID , YOU BLASPHEMOUS PUP . $ THEY 'D FLOG YOU FOR THAT AT CLAIRVAUX OR CLUNY . $ NOT GOD , ROBERT . $ THE BEST AVAILABLE ALTERNATIVE , POSSIBLY . $ IN FACT , ALMOST CERTAINLY . $ BUT NOT GOD . $ < THE LIGHTS FADE . $ TO COVER THE SCENE CHANGE STUDENTS ARE HEARD SINGING " THE A BBOT OF ANGERS " . > $ < SCENE THREE > $ < GILLES' ROOM IN THE LEE OF NOTRE-DAME $ GILLES DE VANNES ENTERS AND SITS AT THE TABLE . $ HE IS A CANON AND IS SEVENTY YEARS OF AGE . $ HE SITS IN HIS GREAT CHAIR , HIS MASSIVE CHIN CREASED ON HIS CHEST . $ ON THE TABLE IS A PARTLY EATEN CHICKEN AND A FLAGON OF WINE AND TWO GOBLETS . $ AS THE LIGHTS COME UP ABELARD ENTERS . > $ 01 DON'T GET UP . $ 08 I WASN'T INTENDING TO . $ SCIATICA . $ 01 I THOUGHT IT WAS BETTER . $ 08 < ( WITH A GRUNT ) > $ I SUPPOSE YOU 'VE COME FOR YOUR DINNER ? $ < ( HE THROWS A CHICKEN LEG AT ABELARD ) > $ 01 < ( CATCHING IT ) > $ WELL , SINCE YOU PRESS ME . $ MY MAN GUIBERT MADE ME AN OMELETTE . $ THE GREASE STOOD ON IT IN FLAKES . $ I DON'T KNOW WHY HIS FOOD ALWAYS TASTES SO FOUL . $ HE WASHES THE PLATTERS , EVEN THE POTS . $ 08 BUT DOES HE WASH THE CLOTH THAT WASHES THE POTS ? $ THERE 'S NO FLAVOUR QUITE LIKE IT . $ 01 IT 'S LACK OF CONCENTRATION , I THINK . $ HIS MIND IS ON WOMEN . $ < ( EATING ) > $ THE CHICKEN IS DELICIOUS . $ 08 FROM MY COUSIN , THE ABBESS , AT ARGENTEUIL . $ WHY DO NUNS ALWAYS HAVE THE BEST POULTRY ? $ #7 $ 01 PLUMP WHITE FLESH . $ CLUCK-CLUCK-CLUCK . $ < ( HE EATS RAVENOUSLY ) > $ 08 < ( CHUCKLING ) > $ IT 'S A PLEASURE TO FEED YOU , PETER . $ NOT ONLY BECAUSE YOU EAT LIKE A HUNGRY HAWK , BUT BECAUSE , LIKE ME , YOU 'RE A SENSUALIST . $ 01 < ( WITH HIS MOUTH FULL ) > $ GOD FORBID . $ 08 IT 'S TRUE . $ BUT I 'M A SENSUALIST IN MIND AS WELL AS BODY . $ YOUR MIND SNUFFS UP THE EAST WIND , WHICH IS WHY YOU 'RE AS LEAN AS THE KINE OF PHARAOH . $ BUT THERE 'S HOPE FOR YOU . $ I WAS ONCE AS LEAN AS YOU - AND FASTED MORE OFTEN , TILL I W AS PAST GRACE . $ 01 I 'VE SOMETIMES WONDERED IF YOU EVER KNEW IT . $ < ( HE STARTS TO FILL THE GOBLETS ) > $ 08 GRACE ? $ < ( HE HOLDS OUT HIS GOBLET ) > $ < ABELARD POURS A DROP INTO IT > $ TO THE BRIM . $ < ABELARD FILLS GILLES' GOBLET , THEN HIS OWN > $ OH YES , I KNEW IT . $ BUT - IS IT JEROME OR AMBROSE ? $ " NOTHING SO ESTRANGETH THE HEART FROM THE LOVE OF GOD AS TH E FACES OF WOMEN . " $ 01 NOT JEROME . $ 08 NO . $ TOO CRUDE . $ THE BLESSED GREGORY , PERHAPS . $ AND AFTER THAT , THERE WAS THIS . $ < ( RAISING HIS GOBLET ) > $ WAS THAT HULLABALOO THIS MORNING YOUR STUDENTS ? $ 01 A FEW HIGH SPIRITS . $ 08 I HEAR THEY CARRIED YOU SHOULDER HIGH . $ 01 THEY MAY HAVE THOUGHT OF PUTTING ME IN THE SEINE . $ BUT THEY SET ME INSTEAD ON MY OWN DOORSTEP . $ 08 WHERE , NATURALLY , YOU MADE THEM A SPEECH . $ 01 I MAY HAVE SAID A FEW WORDS . $ 08 ON REASON AS THE HABITATION OF GOD WITH MEN ? $ 01 WE ARRIVED THERE EVENTUALLY . $ 08 JOHN SCOTUS ERIGENA SAID THE SAME THING THREE HUNDRED YEA RS AGO . $ THEY KILLED HIM FOR IT IN THE END , YOU KNOW . $ STABBED HIM TO DEATH WITH THEIR PENS . $ LIKE HYPATIA . $ WHICH REMINDS ME , FULBERT'S NIECE IS BACK FROM THE CONVENT . $ 01 FULBERT HAS RELATIVES ? $ I ALWAYS THOUGHT HE HAPPENED SPONTANEOUSLY . $ 08 THERE WAS A BROTHER , KILLED IN THE CRUSADES . $ HE SIRED A DAUGHTER . $ SHE BORROWS MY HOMER . $ 01 ODD TASTE FOR A GIRL . $ 08 OH , HELOISE HAD A MIND . $ ONE REASON , AMONG MANY , WHY HER UNCLE DOTES ON HER . $ 01 DOES HE ? $ < ( LEANING INTERESTEDLY FORWARD ) > $ INCESTUOUSLY ? $ 08 MY DEAR PETER ... $ 01 NO , I SUPPOSE NOT . $ TEDIOUS OLD SHEEP . $ 08 YOU HAVE SAID THAT , I THINK , ABOUT EVERY ONE OF OUR CAN ONS , BARRING MYSELF . $ 01 WELL , SO THEY ARE . $ SHEEP , EVERY ONE OF THEM BROWSING OVER THE SAME CLOSE-BITTE N PASTURES , WITH THEIR " SAINT THIS SAITH THAT " AND " SAIN T THAT SAITH THE OTHER " AND " SAINT THE OTHER SAITH SOMETHI NG ELSE AGAIN " . $ #8 $ AS IF ONE COULDN'T PROVE ANYTHING , AND DENY IT , AND PROVE IT BACK AGAIN , OUT OF AUGUSTINE ALONE . $ ONE DAY I 'LL DO IT , JUST TO SHOW THEM . $ 08 DO WHAT ? $ 01 SMASH THE WHOLE BLIND SYSTEM OF THEOLOGY AND SUBSTITUTE . .. $ 08 MASTER PETER ABELARD ? $ 01 NOT THAT . $ NOT THAT . $ BUT A REASONABLE SOUL . $ AUGUSTINE SAID A MAN SHOULD SERVE THE UNDERSTANDING OF THING S . $ I 'LL BE CONTENT IF WHEN I 'M DEAD SOMEONE SAYS THAT ABOUT M E . $ THAT 'S WHY THESE YOUNGSTERS LIKE ME , YOU KNOW . $ THERE 'S A NATURAL REASONABLE SOUL IN MOST THINGS WHEN THEY 'RE YOUNG . $ I CAN DO WHAT I PLEASE WITH THEM . $ 08 THE YOUNG , YES . $ BUT HAVE A CARE FOR THE SHEEP , PETER . $ OLD TEETH STILL BITE . $ < CANON FULBERT FUSSES IN . $ AN AGED AND EXCITABLE ECCLESIASTIC , AS THIN AND SPIDERISH A S GILLES IS FAT AND FLORID , THERE IS SOMETHING NAIVE AND CH ILDLIKE ABOUT HIM . $ HE IS IN FULL CANONICALS > $ 10 < ( TO GILLES ) > $ AH , THERE YOU ARE , CANON . $ ALL IS IN ORDER . $ ALL IS IN ORDER . $ IS HELOISE NOT HERE YET ? $ < ( SUDDENLY SEEING ABELARD ) > $ OH , MASTER PETER . $ < ( HE SHAKES ABELARD'S HAND ) > $ AN HONOUR , SIR . $ AN HONOUR , AS ALWAYS . $ YES , INDEED . $ I SENT MY NIECE TO THE LIBRARY FOR A ... $ < ( TO GILLES ) > $ YOU 'RE NOT DRESSED . $ 08 NOT DRESSED ? $ AM I NAKED ? $ 10 NOT DRESSED , NOT DRESSED FOR THE DEPRIVATION ! $ 01 < ( SHARPLY ) > $ DEPRIVATION ? $ 10 YES , YES , YES , THE DEPRIVATION OF EVRARD ! $ HURRY , MAN , WE DON'T WANT TO BE LATE . $ IT PROMISES TO BE SOMETHING OF AN OCCASION . $ 08 YOU MAY GO YOUR WAYS , FULBERT . $ NOT ONE FOOT WILL YOU GET ME INSIDE THE CATHEDRAL TONIGHT . $ 10 WHAT ? $ NOW LISTEN TO ME , DE VANNES , YOU GAVE YOUR WORD ... $ 08 AND DON'T WAG YOUR FINGER AT ME . $ WHAT DOES THE MAN LOOK LIKE ? $ A WASP ATTACKING A PORCUPINE . $ 10 < ( STIFFLY ) > $ I CONFESS I FIND SOME DIFFICULTY IN COMPREHENDING YOUR POSIT ION , DE VANNES . $ YOU GAVE YOUR VOTE WITH THE REST OF US IN CHAPTER . $ 08 I DID . $ 10 AND YET YOU REFUSE ... $ 08 BUT I HAVE NO LIKING FOR EXECUTIONS OF JUSTICE . $ A BAD CONSCIENCE , NO DOUBT . $ 10 EVRARD IS A CANON , NOT A CHOIRBOY . $ AND A SIMPLE ACT OF ECCLESIASTICAL DEPRIVATION ... $ 08 - IS SOMETHING I CHOOSE NOT TO WITNESS . $ OH , HE 'S BEEN A FOOL , I GRANT YOU . $ IF HE 'D MADE HER HIS MISTRESS INSTEAD OF HIS WIFE , WE 'D H AVE LOOKED THE OTHER WAY IN CHARITY . $ 10 I WOULD NOT HAVE LOOKED THE OTHER WAY ! $ 08 IT 'S NORMAL PRACTICE . $ 10 IT 'S HYPOCRISY . $ 08 WELL , OF COURSE . $ #9 $ 10 I DEPLORE IT . $ A PRIEST IS A SERVANT OF GOD . $ THOU CANST NOT SERVE GOD AND WOMAN . $ 08 < ( TO ABELARD ) > $ YOU HEAR THAT , PETER ? $ FULBERT HAS UNEARTHED THE ELEVENTH COMMANDMENT . $ 10 YOU MOCK ME , GILLES . $ 08 THERE , THERE , YOU 'RE A GOOD FELLOW , FULBERT . $ A THORN IN THE FLESH OF THE UNRIGHTEOUS . $ BUT I WILL NOT GO TO YOUR ENTERTAINMENT . $ 10 I LIKE A FRIEND TO SIT WITH . $ 08 ASK ABELARD . $ PERHAPS HE 'LL GO WITH YOU AND HOLD YOUR HAND . $ 10 < ( EAGERLY ) > $ MASTER PETER ? $ IT WOULD BE A CONSIDERABLE HONOUR . $ I 'M IN NEED OF A FRIEND . $ 01 IT 'S EVRARD , I THINK , WHO NEEDS THE FRIEND . $ I 'LL SEE YOU THERE . $ < ABELARD GOES OUT ABRUPTLY > $ 10 < ( PLAINTIVELY ) > $ WHY WOULDN'T HE WALK WITH ME , WHY DIDN'T HE WAIT ? $ < ONE OF THE BELLS OF NOTRE-DAME STARTS TO TOLL > $ I 'M TO MAKE YOUR EXCUSES , THEN , GILLES ? $ 08 TELL THEM I HAVE A PROFOUND SCIATICA . $ 10 HAVE YOU ? $ 08 NO , BUT I HAD YESTERDAY . $ 10 T'T , HELOISE , WHERE IS THE GIRL ? $ I SHALL BE LATE . $ I SENT HER TO THE LIBRARY FOR A COPY OF THE FATHERS - ON ILL ICIT UNION WITHIN THE CHURCH - IN CASE OUR BROTHER CONTESTS THE DECISION , YOU UNDERSTAND . $ BUT IT SHOULDN'T TAKE HER MORE THAN FIVE MINUTES . $ IF SOMETHING HAS HAPPENED TO HER - SOME DREADFUL DISASTER - $ $ 08 NO , NO , NO . $ 10 - I SHALL NEVER FORGIVE MYSELF . $ 08 TOO MUCH EXCITEMENT IS BAD FOR THE HEART , FULBERT . $ THINK OF YOUR HEART . $ 10 THERE 'S NOTHING WRONG WITH MY HEART . $ 08 THEN THINK OF MINE . $ < HELOISE RUNS IN , BREATHLESS . $ SHE WEARS GREEN , GIRDLED LOW , HER LONG HAIR FALLING TO HER SHOULDERS . $ THE EYES ARE HAUNTING . $ SHE IS SEVENTEEN . $ SHE KISSES FULBERT AND HANDS HIM A BOOK > $ 10 THERE YOU ARE CHILD . $ WHERE ON EARTH HAVE YOU BEEN ? $ 02 I 'M SORRY , UNCLE . $ I RAN BOTH WAYS ALL THE WAY . $ 10 IN THAT CASE I CAN'T IMAGINE WHY IT TOOK YOU SO LONG . $ < HELOISE KISSES GILLES > $ NOW YOU 'LL GO STRAIGHT HOME , SWEETHEART ? $ 02 YES . $ 08 LEAVE HER WITH ME , FULBERT , WHILE YOU 'RE IN CHAPTER . $ THERE 'S A COPY OF THE INSCRIPTION FOR THE LAPIDARIES TO MAK E AND I 'VE GOUT IN MY THUMB . $ 10 YOU THINK THE GIRL WRITES WELL , GILLES ? $ 08 SHE HAS THE BEST CLERK'S SCRIPT IN PARIS . $ #10 $ 10 BEAUTY - AND A BRAIN TO MATCH . $ 08 A RARE COMBINATION FOR SOME UNFORTUNATE MAN . $ 10 NO . $ HELOISE IS MINE - AND GOD'S . $ < ( HE PLACES HIS HAND ON HELOISE'S HEAD ) > $ 08 I NOTICE YOU PLACE GOD BELOW THE SALT . $ 10 I WILL COME BACK FOR HER WHEN CHAPTER IS OVER . $ AND THEN I CAN TELL YOU , CANON , ALL ABOUT IT . $ 08 I CAN SCARCELY CONTAIN MYSELF , CANON . $ OH , AND FULBERT - I WOULD COME WITH YOU TO THE STONING OF S TEPHEN , IF I HAD THE COURAGE . $ 10 < ( KINDLY ) > $ NOT STEPHEN . $ EVRARD . $ < ( ASIDE TO HELOISE ) > $ HE 'S GETTING OLD . $ < FULBERT GOES OUT $ GILLES AND HELOISE LOOK AT EACH OTHER AND BURST OUT LAUGHING > $ 08 < ( POURING OUT WINE ) > $ HELOISE , YOU 'RE THE ONLY CONTEMPORARY I HAVE . $ 02 I THINK SO , TOO . $ WHERE ARE THE INSCRIPTIONS ? $ 10 AN EXCUSE FOR YOUR COMPANY . $ < ( OFFERING HER HIS GOBLET ) > $ HERE , TRY THIS . $ COLD AND GREEN LIKE WELL-WATER - $ 02 MN . $ COLD AND GREEN LIKE WELL-WATER - $ < ( SHE DRINKS ) > $ - YET IT WARMS LIKE THE SUN . $ < ( SHE GIVES GILLES HIS GOBLET , THEN TAKES ONE AND POURS W INE FOR HERSELF ) > $ WHERE DOES IT COME FROM ? $ < THE BELL CEASES TOLLING > $ 08 MOSELLE . $ ISN'T IT STRANGE THAT A MAN WITH A PALATE LIKE AUSONIUS SHOU LD WRITE A LONG POEM ABOUT THAT DULL RIVER AND NOT ONE LINE ABOUT ITS VINEYARDS ? $ 02 PERHAPS HE DESPISED THEM , BEING FROM BORDEAUX . $ 08 A MAN'S PALATE SHOULD HAVE NO COUNTRY . $ 02 GILLES , WHAT WILL BECOME OF EVRARD ? $ WAS HE WRONG TO MARRY ? $ 08 CANONICALLY , YES . $ 02 THEN IS MARRIAGE A SIN ? $ 08 NOT A SIN . $ ONLY A MISTAKE . $ < SHE GRINS > $ THAT 'S WHY THE CANONISTS REGARD IT SO GRAVELY . $ ONE CAN BE ABSOLVED OF A SIN , BUT THERE 'S NO ABSOLUTION FO R A MISTAKE . $ 02 BUT EVRARD - IT WAS SUCH A GOOD FACE , AND SHE - I SAW HI S WIFE THIS MORNING AT HER DOOR , ALL SODDEN WITH CRYING AND FRIGHTENED . $ 08 GOD COMFORT HER IN HER DISTRESS . $ 02 MY UNCLE SAYS YOU VOTED AGAINST EVRARD IN CHAPTER . $ 08 AND SHOULD VOTE AGAIN TOMORROW . $ 02 BUT WHY , GILLES ? $ YOU , OF ALL PEOPLE ? $ YOU 'RE NOT A HYPOCRITE . $ 08 BUT I AM . $ OFFICIALLY I 'M A CANON OF NOTRE-DAME , AND I HAVE THE MORAL S , AND , WHAT 'S WORSE , THE APPEARANCE OF SILENUS . $ 02 AT LEAST YOU MAKE NO PRETENCE AT GOODNESS , LIKE THE OTHE RS . $ YET YOU CONDEMNED EVRARD . $ 08 CANON LAW CONDEMNED HIM , AS IT WOULD CONDEMN THE ARCHBIS HOP IF CHARGES AGAINST HIM WERE BROUGHT AND PROVED . $ AND MARRIAGE , REMEMBER , IS EASIER TO PROVE THAN - OTHER FO RMS OF DEPRAVITY . $ #11 $ 02 IS THAT HOW YOU THINK OF MARRIAGE ? $ AS A FORM OF DEPRAVITY ? $ 08 MARRIAGE - IS A COMPROMISE WITH THE FLESH . $ THE CHURCH IN ITS WISDOM HAS GIVEN ITS BLESSING TO THAT COMP ROMISE , SPEAKING OF A CERTAIN SPIRITUAL UNION , OF WHICH I HAVE SEEN LITTLE AND DESIRED LESS . $ TO ME THE ROOT OF MARRIAGE IS THE SATISFYING OF A LUST OF TH E FLESH . $ 02 THEN LOVE IS LUST ? $ 08 ITS ROOT IS LUST . $ YOU FIND THAT HORRIBLE . $ 02 < ( ALMOST INAUDIBLY ) > $ YES . $ 08 < ( GENTLY ) > $ THE ROSE IS LOVELIER THAN ITS ROOT , HELOISE . $ EVEN SO , MARRIAGE IS THE EFFORT TO MAKE THAT PERMANENT WHIC H IS BY NATURE TRANSIENT . $ NEQUIDQUAM . $ IN VAIN . $ < ABELARD ENTERS > $ SO SOON ? $ THAT WAS A SWIFT STONING . $ WHAT HAPPENED ? $ DID THEY ALL THROW AT ONCE ? $ YOU 'VE NOT MET , I THINK . $ HELOISE - THE MAN WHO HAS YOUR GENERATION BY THE EARS - MAST ER PETER ABELARD . $ 01 < ( AFTER A MOMENT ) > $ I 'VE JUST COME FROM YOUR UNCLE . $ HE FAINTED IN CHAPTER . $ THERE 'S NO CAUSE FOR CONCERN . $ HE 'D BEEN FASTING , I THINK . $ HE ASKS YOU SHOULD GO TO HIM . $ 01 < ( QUICKLY ) > $ YES , OF COURSE . $ < ( SHE GIVES THE GOBLET TO GILLES AND MOVES UPSTAGE ) > $ 01 < ( FOLLOWING HER ) > $ I 'LL SEE YOU THERE SAFELY . $ 02 NO . $ THANK YOU , BUT I - I 'LL BE QUICKER ALONE . $ < HELOISE RUNS OUT $ ABELARD STARES AFTER HER > $ 08 < ( RISING ) > $ SEVENTEEN , THEY SAY . $ NOT MUCH COLOUR . $ < AS HE SPEAKS , GILLES MOVES DOWNSTAGE WITH ABELARD . $ THE NUNS TAKE UP A POSITION TO WATCH THE FOLLOWING SCENE . $ ALYS AND ALAIN ENTER , GO UP THE TOWER AND EMBRACE . $ GUIBERT ENTERS > $ I LIKE A WHITE-FACED WENCH MYSELF . $ THE EYES SHOW BETTER SO . $ WHY DO FOOLS SAY BLACK AS NIGHT ? $ THERE 'S MORE COLOUR IN A NIGHT SKY THAN EVER THERE IS AT NO ONDAY . $ STARS , TOO . $ YOU 'RE NOT LISTENING . $ < A SPOT COMES UP ON GUIBERT , AND A TREBLE SOLO VOICE IS HE ARD SINGING " WHEN SUMMER ON IS STEALING " > $ 01 I 'M LISTENING . $ 08 ALYS ! $ 01 MY MAN GUIBERT - IN SEARCH OF WOMAN . $ 08 < ( CHUCKLING ) > $ AH , YES . $ < ABELARD AND GILLES EXIT > $ #12 $ < SCENE FOUR > $ < OUTSIDE A HOUSE IN THE POOR QUARTER OF PARIS . $ MOONLIGHT $ THE LIGHTING COMES UP ON ALAIN AND ALYS . $ ALAIN COMES DOWN IN HIGH SATISFACTION ADJUSTING HIS CLOTHES > $ 03 < ( CALLING UP TO ALYS ) > $ HEY ! $ ALYS ! $ < ALYS LEANS OUT > $ THANKS ! $ 11 < A TART , BUT COMELY ) > $ PLEASURE , DEAR . $ COME AGAIN . $ 03 THAT I WILL . $ 11 ANY TIME . $ I 'M ALL YOURS . $ < ALAIN EXITS $ ROBERT CRISSES > $ I 'M ALL YOURS TOO , DEAR . $ < ROBERT GLANCES UP , THEN HURRIES OFF > $ PLEASE YOURSELF . $ < ( SHE STARTS TO WITHDRAW ) > $ < GUIBERT LUMBERS OUT OF THE SHADOWS > $ 07 < ( HOARSELY ) > $ ALYS ! $ ALYS ! $ DON'T GO ! $ 11 WHO 'S THERE ? $ OH , IT 'S YOU , GUIBERT . $ GOT ANY MONEY ? $ 07 IS IT MONEY TONIGHT , ALYS ? $ 11 MONEY EVERY NIGHT , DEAR . $ I 'M NOT IN THIS FOR THE TIMBRELS AND DANCING . $ 07 I 'VE GOT A NEW SONG . $ 11 CAN'T EAT SONGS , DEAR . $ 07 YOU LIKED THE ONE I SANG YOU LAST WEEK - REMEMBER ? $ AND THEN - AFTERWARDS , OH , ALYS , IT WAS SO WONDERFUL . $ < THE SINGING FINISHES > $ 11 YES , WELL , YOU GOT THE BETTER OF MY GOOD NATURE . $ THERE 'S BEEN A CHANGE OF POLICY . $ < ( SHE STARTS TO WITHDRAW ) > $ 07 NO , WAIT ] $ ALYS . $ LISTEN ] $ < ( HE SINGS ) > $ WHEN SUMMER ON IS STEALING . $ < ALYS MOVES TO LISTEN > $ AND COME THE GRACIOUS PRIME AND PHOEBUS HIGH IN HEAVEN AND F LED THE RIME $ < GUIBERT SITS > $ WITH LOVE OF ONE YOUNG MAIDEN MY HEART HATH TA'EN ITS WOUND AND MANIFOLD THE GRIEF THAT I IN LOVE HAVE FOUND THAT I IN L OVE HAVE FOUND . $ #13 $ < ALYS SLOWLY COMES DOWN AND STANDS BEHIND GUIBERT > $ IF SHE WOULD ONCE HAVE PITY AND TAKE ME TO HER SIDE AND STOO PING LEAN DOWN O'ER ME AND SO ABIDE , AND STOOPING LEAN DOWN O'ER ME $ < ALYS FONDLES HIS HEAD > $ AND SO ABIDE . $ < ABELARD ENTERS AND MOVES INTO THE SHADOWS TO WATCH THE ENS UING SCENE > $ 11 WHO WROTE THAT ? $ 07 I DID . $ 11 LIAR . $ 07 WELL , IT 'S ONE OF MASTER ABELARD'S , ACTUALLY . $ ONE OF HIS BEST , DON'T YOU THINK ? $ 11 NOT BAD . $ < ( SHE STANDS INVITINGLY BEFORE HIM ) > $ 07 < ( MOVING HESITANTLY TO HER ) > $ CAN I COME IN NOW ? $ < ALYS PUTS UP HER MOUTH . $ HE KISSES HER HUNGRILY . $ SHE RESPONDS > $ 11 < ( EVENTUALLY ) > $ THERE . $ NOW GO ON HOME LIKE A GOOD LITTLE BOY . $ 07 BUT - BUT , ALYS , WE HAVEN'T ... $ 11 I SAID GO HOME . $ 07 OH , GOD . $ PLEASE - PLEASE - I MUST - I MUST ... $ < ( HE SEIZES HER CLUMSILY ) > $ < SHE WRESTLES AND THROWS HIM OFF . $ HE SPRAWLS ON THE GROUND > $ 11 < ( WITHOUT RANCOUR ) > $ NO FREE RIDES . $ I 'M A BUSINESS GIRL . $ 07 < ( RISING ) > $ HOW MUCH ? $ 11 HOW LONG ? $ 07 ALL NIGHT ? $ < ALYS GIVES A DERISIVE LAUGH > $ ALL NIGHT , ALYS ? $ 11 YOU BRING ME A HUNDRED GOLD BESANTS , YOU CAN HAVE ME FOR A NIGHT . $ 07 A HUNDRED GOLD BESANTS ? $ 11 THAT 'S WHAT I SAID . $ 07 JUST FOR ONE NIGHT ? $ 11 'COURSE , IF I 'M NOT WORTH IT ... $ 07 YES - $ < ( SURVEYING HER HUNGRILY ) > $ - GOD , YES , YOU 'RE WORTH IT . $ BUT WHERE AM I GOING TO GET A HUNDRED BESANTS ? $ 11 THAT 'S YOUR PROBLEM , ISN'T IT , DEAR ? $ AND LOOK - GUIBERT - DON'T BOTHER ME AGAIN . $ NOT UNLESS YOU 'VE SOLVED IT . $ ALL RIGHT ? $ 07 ALYS , FOR GOD'S SAKE ... $ 11 OH , GO HOME ! $ < ALYS EXITS > $ #14 $ < GUIBERT MOVES DOWNSTAGE > $ 07 < ( TO THE AUDIENCE ) > $ I 'LL GET IT . $ A HUNDRED GOLD BESANTS . $ I DON'T KNOW HOW , BUT I 'LL GET IT . $ ONCE YOU 'VE HAD A WOMAN , WELL , YOU KNOW HOW IT IS ... $ < ABELARD APPEARS OUT OF THE SHADOWS > $ 01 NO , I DON'T KNOW HOW IT IS . $ 07 NO , THAT 'S RIGHT , MASTER . $ NOR YOU WOULD . $ 01 BUT I CAN IMAGINE . $ THE HUNGER . $ THE HUNGER FOR LOVE . $ 07 THAT 'S IT , SIR . $ THAT 'S IT , EXACTLY . $ < ( HE SNAPS HIS FINGERS ) > $ I 'LL SAVE . $ THAT 'S IT . $ I 'LL START SAVING . $ 01 < ( OPENING A PURSE AT HIS WAIST AND HANDING GUIBERT A CO IN ) > $ TO OPEN YOUR ACCOUNT . $ 07 THANKS , MASTER ABELARD . $ THAT 'S - SYMPATHETIC . $ < GUIBERT EXITS > $ < SCENE FIVE > $ < ABELARD'S OLD ROOM IN PARIS $ ABELARD MOVES BELOW THE BENCH > $ 01 < ( TO THE AUDIENCE ) > $ A SCULLION AND A HARLOT - AND YET - WHEN SHE TOOK HIM IN HER ARMS AND THEIR MOUTHS MET , IT SEEMED TO ME AS IF SUDDENLY ALL THE THINGS THAT I CONTEND FOR - BOOKS , PHILOSOPHY , DIA LECTICS - $ < GILLES ENTERS > $ - THE WHOLE SPECTRUM OF THE INTELLECTUAL LIFE - AS IF SUDDEN LY THEY WERE NOTHING . $ IT WAS AS THOUGH - FOR A MOMENT IN TIME - HARLOT AND LOUT HA D - IMMORTALITY . $ CAN YOU BELIEVE THAT , GILLES ? $ 08 < ( MOVING TO THE CHAIR AND SITTING ) > $ WITHOUT DIFFICULTY . $ AND THEN ? $ 01 AND THEN SHE SLAPPED HIS FACE AND SHUT THE DOOR ON HIM . $ 08 HA ! $ YES , THAT 'S THE WAY OF IT . $ POOR GUIBERT . $ BY THE WAY , FULBERT SAYS YOU CAN TAKE HIM WITH YOU . $ YVONNE , THAT 'S HIS COOK , WILL BE HAPPY TO FEED YOU , BUT NATURALLY YOU MUST HAVE A MAN ABOUT YOU TO FETCH AND CARRY . $ 01 < ( SHARPLY ) > $ WHAT 'S THIS ? $ 08 FULBERT WANTS YOU TO GO AND LIVE WITH HIM . $ 01 FULBERT WANTS ME ... ? $ 08 THE PICTURE OF STUPEFACTION . $ NOW WHY ? $ 01 WHY ? $ GOOD GOD , MAN ... $ 08 HE WAS ALWAYS BY WAY OF REGARDING YOU AS A DEMIGOD , AND SINCE YOU CARRIED HIM HOME WHEN HE FAINTED IN CHAPTER ... $ 01 I DID NOT . $ I GAVE HIM AN ARM . $ 08 HORIZONTAL OR VERTICAL , THE FACT REMAINS HE BLUSHES AND STAMMERS WHENEVER HE SPEAKS OF YOU . $ #15 $ WHICH IS WHY I AM WINGED MERCURY - WELL , SCARCELY WINGED , BUT NONE THE LESS A MESSENGER . $ 01 I DON'T UNDERSTAND ANYTHING YOU 'RE SAYING . $ 08 APPARENTLY THERE 'S A ROOM AT THE TOP OF THE HOUSE . $ IT LOOKS OVER THE SEINE . $ AN IMPROVEMENT , I GATHER , ON YOUR PRESENT QUARTERS . $ WELL , ALMOST ANYTHING WOULD BE THAT . $ THERE 'S SPACE ENOUGH FOR YOURSELF AND YOUR BOOKS , AND HE ' LL TAKE YOU FOR HALF WHAT YOUR HOUSEKEEPING COSTS YOU NOW , BUT HE ASKS , WITH DIFFIDENCE , IF IN PART CONSIDERATION OF BOARD AND LODGING , YOU WOULD , IN SUCH LEISURE AS YOUR WEIG HTIER STUDIES AFFORD YOU , INSTRUCT HIS NIECE . $ HE BADE ME SAY THAT SHE 'LL BE AT YOUR DISPOSAL WHENEVER YOU CHOOSE . $ < ( HE HEAVES WITH SILENT LAUGHTER ) > $ 01 IS THE MAN OUT OF HIS WITS ? $ I 'M THIRTY-SEVEN AND SHE 'S ... $ 08 A SCHOOLGIRL . $ I REMINDED HIM OF THE FACT , BUT HE SPOKE MUCH OF YOUR REPUT ATION FOR CHASTITY , AND OF ST JEROME AND HIS PUPIL EUSTOCHI UM . $ YOU WOULD , IT SEEMS , BE DOING HIM THE GREATEST IMAGINABLE HONOUR IF YOU WOULD CONSENT TO LIVE UNDER HIS ROOF . $ 01 HONOUR ? $ 08 HIS WORD . $ HE USED IT AT LEAST THREE TIMES . $ WELL ? $ IS IT TO BE YES OR NO ? $ 01 TELL ME . $ 08 MY GOOD PETER , I 'M THE LAST PERSON ON EARTH TO ASK THAT QUESTION OF . $ NEVER IN MY LIFE HAVE I SAID NO TO ANYTHING I GREATLY DESIRE D . $ BUT THEN - YOU ALREADY HAVE THE MALE POPULATION AT YOUR FEET - PERHAPS YOU 'VE NEVER REALLY WANTED - ANYTHING ELSE ? $ 01 < ( AFTER A MOMENT ) > $ YES , ONCE . $ ONE SUMMER I WENT HOME TO MY FATHER'S HOUSE AT LE PALAIS , T O MY SISTER DENISE . $ SHE MARRIED HUGH , MY FATHER'S STEWARD . $ AND I 'D HAVE GIVEN ALL I HAD TO BE LIKE HUGH AND SWEAT ALL THE MISCHIEF OUT OF ME AT THE HAY AND THEN GO BACK AND LIE A LL NIGHT WITH SOMETHING WARM AND KIND LIKE DENISE . $ < THE NUNS WHISPER " HELOISE " . > $ AND I COULD HAVE CURSED MY WITS THAT HAD SPOILED ME FOR LIVI NG . $ AND MY HEAD - GOD , HOW IT ACHED ! $ AND THEN DENISE WOULD COME AND SIT BESIDE ME ON THE GRASS AN D HOLD MY HEAD IN HER HANDS . $ NO WOMAN HAD EVER DONE THAT TO ME . $ 08 AH , THOSE HANDS , THOSE HEALING WOMAN'S HANDS - THAT MOM ENT WHEN THEY TAKE YOUR HEAD IN THEIR HANDS AND CARRY IT TO THEIR BREASTS ... $ < THE LIGHTS FADE . $ GILLES EXITS > $ < SCENE SIX > $ < ABELARD'S ROOM IN FULBERT'S HOUSE . $ JUNE > $ IT IS A COMFORTABLY FURNISHED ROOM AT THE TOP OF THE HOUSE . $ NOTHING LUXURIOUS , BUT AN OBVIOUS IMPROVEMENT ON HIS PREVIO US LODGINGS . $ THE MONKS MOVE AWAY UPSTAGE ON ONE SIDE , AND THE NUNS MOVE UP ON THE OTHER . $ FULBERT ENTERS UNNOTICED DURING THE GENERAL MOVEMENT AND JOI NS ABELARD > $ #16 $ 10 ... YOU 'LL FIND SHE HAS A GOOD MIND , A LOGICAL MIND . $ AND AN EXCELLENT MEMORY . $ WHATEVER YOU TEACH HER , SHE 'LL RETAIN . $ STORES IT ALL UP HERE , SHE DOES , LIKE A - WHATEVER ANIMAL NEVER FORGETS . $ I FORGET . $ NOW , YOU HAVE EVERYTHING YOU REQUIRE ? $ SPLENDID . $ AND WE HAVE YOUR MAN - WHAT 'S HIS NAME ? - $ 01 GUIBERT . $ 10 - GUIBERT INSTALLED IN THE LOFT , SO ALL IS IN ORDER . $ ALL IS IN ORDER . $ < ( HE CALLS ) > $ HELOISE ! $ COME ALONG UP , MY DEAR . $ SHE 'LL PROVE AN APT PUPIL , A WORTHY PUPIL , I HAVE NO DOUB T . $ IF NOT , YOU MUST PUNISH HER . $ YES , INDEED . $ A TOUCH OF THE BIRCH ON THE BUTTOCKS IS GOOD FOR ALL OF US , ESPECIALLY THE YOUNG . $ < HELOISE ENTERS > $ A THING THEY KNOW WELL IN CONVENTS - THE VALUE OF A TOUCH OF THE BIRCH ABOUT OUR HINDER PARTS - ISN'T THAT SO , MY DEAR ? $ MIND YOU , THE NUNS THOUGHT HIGHLY OF HER . $ A DEVOUT GIRL , PIOUS AND VIRTUOUS , NEITHER THE DESIRES NOR THE VANITIES OF THIS WORLD COULD TURN HER FROM HER STUDIES . $ A NATURAL RELIGIOUS , I SHOULD SAY . $ BUT I 'M WASTING YOUR PRECIOUS TIME . $ < ( TO HELOISE ) > $ IT 'S A PRIVILEGE TO HAVE SUCH AN EMINENT MAN GIVE A FEW HOU RS TO A CHILD LIKE YOU . $ REMEMBER THAT . $ < ( HE GIVES HER A LITTLE KISS ) > $ MASTER PETER , I PLACE MY NIECE IN YOUR HANDS . $ CONFIDENTLY . $ WITHOUT RESERVE . $ YOU ARE A GREAT MAN OF LETTERS . $ MY HOUSE IS HONOURED . $ YES , INDEED . $ < FULBERT GIVES A LITTLE HALF-BOW , CLEARS HIS THROAT , AND SHUFFLES OUT ON HIS WALKING-STICK > $ 01 < ( AT LENGTH ; COLDLY ) > $ SIT DOWN . $ < HELOISE SITS OBEDIENTLY > $ < ( EVENTUALLY ) > $ DID THE NUNS BEAT YOU ? $ 02 NO . $ < ( AFTER A PAUSE ) > $ I THINK THEY PREFERRED TO BEAT THEMSELVES . $ 01 < ( AFTER A PAUSE ) > $ THEY SAY IT SHARPENS THE SOUL . $ 02 < ( THOUGHTFULLY ) > $ I DON'T THINK IT WOULD SHARPEN MINE . $ IN FACT , I 'M SURE IT WOULDN'T . $ < ( SHE PAUSES ) > $ BUT THEN I 'VE NEVER TRIED IT . $ 01 NO DOUBT THAT WILL COME LATER . $ < SHE SMILES UP AT HIM . $ HE MAKES NO ATTEMPT TO LIGHTEN HIS EXPRESSION > $ YOU LIKE HOMER , I BELIEVE ? $ 02 I 'VE READ THE ILIAD AND THE ODYSSEY . $ 01 WHAT DID YOU MAKE OF THEM ? $ 02 < ( WARMLY ) > $ OH , HOMER . $ HOMER WAS INSPIRED , WASN'T HE ? $ 01 I DOUBT IF THE POINT HAS BEEN DISPUTED . $ < ( AFTER A PAUSE ) > $ IS THAT ALL YOU HAVE TO SAY ABOUT HOMER ? $ 02 WEREN'T HIS POEMS THE DAWN OF REASON ? $ 01 NOT THE DAWN . $ BUT A BEACON FIRE . $ THE CRY OF THE WATCHMAN ; THE DAWN IS COMING . $ IT WAS FOUR HUNDRED YEARS LATER , WHEN BUDDHA APPEARED IN IN DIA , CUNFUCIUS IN CHINA , PLATO AND ARISTOTLE IN GREECE , T HAT MAN BEGAN AT LAST TO BREAK THE CHAINS THAT BIND HIM TO T HE ANIMAL . $ #17 $ THE HEAT IS STIFLING . $ DO YOU MIND ? $ < ( HE MOVES AS IF OPENING A WINDOW ) > $ 02 I LOVE THE BREEZE FROM THE RIVER . $ 01 < ( AFTER A PAUSE ) > $ WHAT LATIN HAVE YOU ? $ 02 I 'VE STUDIED THE FATHERS - JEROME , GREGORY , AUGUSTINE . $ SOME OVID . $ A LITTLE SENECA . $ 01 SENECA ? $ 02 I READ MEDEA AT NIGHT WITH MY UNCLE . $ 01 < ( AFTER A PAUSE ) > $ YOU 'RE SEVENTEEN ? $ 02 AND A HALF . $ 01 < ( STARING AT HER ) > $ 01 AND YOU SPEND YOUR EVENINGS READING SENECA WITH YOUR UNCL E ? $ 02 WHEN HE 'S NOT TOO TIRED . $ HE OFTEN IS , WHICH IS WHY I SUGGESTED - YOU SEE , THE HOUSE WAS TOO LARGE FOR JUST THE TWO OF US AND YVONNE IN THE KITC HEN - AND WHEN GILLES DE VANNES HAPPENED TO MENTION THAT YOU WERE UNHAPPY IN YOUR LODGINGS ... $ 01 < ( STARING AT HER ) > $ DO I UNDERSTAND THAT - THAT THIS - THAT MY COMING HERE WAS Y OUR IDEA ? $ 02 I 'M SURE YOU 'LL FIND IT MORE COMFORTABLE . $ DID YOU KNOW YOU CAN SEE FOUR OF THE CITY GATES FROM THIS WI NDOW ? $ AND THE SEINE VALLEY AWAY TO THE RIGHT STRETCHING FOR MORE T HAN TWENTY MILES . $ PARIS IS SO LOVELY . $ SOMETIMES THE SHEER BEAUTY OF IT CATCHES THE BREATH . $ IS SOMETHING THE MATTER ? $ 01 < ( RAPT ) > $ I 'M SORRY . $ YOU WERE SAYING ? $ 02 JUST THAT PARIS IS BEAUTIFUL . $ THERE 'S A SORT OF - INNER RADIANCE . $ < THERE IS A PAUSE > $ 01 < ABRUPTLY ) > $ YES . $ THERE 'S ALSO A STENCH OF FOUL WATER AND THE DRAINS DEFY DES CRIPTION . $ WE 'LL START WITH VIRGIL . $ < SHE MOVES EAGERLY > $ BUT NOT NOW . $ IN A WEEK - TWO WEEKS - A MONTH , PERHAPS . $ IF I HAVE TIME . $ YOU UNDERSTAND , I HAVE VERY LITTLE TIME . $ < SHE SMILES AT HIM . $ THE LIGHTS FADE . > $ < SCENE SEVEN > $ < THE SAME . $ ANOTHER DAY . $ JULY $ HELOISE IS TRANSLATING TO ABELARD > $ 01 " OMNE ADEO GENUS IN TERRS HOMINUMQUE FERARUMQUE - " $ 02 " THUS EVERY RACE ON EARTH OF MEN AND BEASTS - " $ 01 " ET GENUS AEQUOREUM - " $ 02 " AND THE CREATURES OF THE SEA - " $ 01 " PECUDES PICTAEQUE VOLUCRES - " $ #18 $ 02 " THE CATTLE - " $ 01 " HERDS . " $ 02 " THE HERDS - AND BIRDS OF BRILLIANT HUE - " $ 01 " IN FURIAS IGNEMQUE RUUNT - " $ 02 " ARE SWEPT WITH FIERY FEELINGS - " $ 01 " PASSION . " $ 02 " ARE SWEPT WITH PASSION . " $ 01 " AMOR OMNIBUS IDEM . " $ 02 " LOVE IS THE SAME FOR ALL . " $ 01 GOOD . $ < ( HE CLOSES THE VIRGIL ) > $ THAT WILL DO FOR TODAY . $ 02 OF COURSE , IT 'S NOT TRUE , IS IT ? $ 01 WHAT IS NOT TRUE ? $ 02 LOVE IS NOT THE SAME FOR ALL . $ HOW CAN IT BE ? $ 01 YOU HAVE THE ADVANTAGE OF ME . $ 02 TO LOVE GOD , FOR EXAMPLE , IS NOT THE SAME AS TO LOVE - ANOTHER HUMAN BEING . $ 01 < ( AFTER A MOMENT ) > $ WHICH WOULD YOU SAY IS THE GREATER LOVE ? $ < ALL THE MONKS AND NUNS TURN TO STARE DOWN AT ABELARD AND H ELOISE > $ 02 THE NUNS WOULD SAY " TO LOVE GOD " . $ 01 WHAT DO YOU SAY ? $ < ( BEFORE SHE CAN REPLY ) > $ IF YOU HAVE THE SMALLEST DOUBT ABOUT THE ANSWER , YOU SHOULD CERTAINLY THINK TWICE BEFORE TAKING THE VEIL . $ 02 < ( ASTONISHED ) > $ TAKING THE VEIL ? $ BUT I 'VE NEVER CONSIDERED SUCH A STEP ! $ 01 < ( EQUALLY ASTONISHED ) > $ I UNDERSTOOD FROM YOUR UNCLE ... $ 02 < ( LAUGHING ) > $ NO , NO , NO . $ OH , YOU MUSTN'T BELIEVE ALL MY UNCLE SAYS ; HE 'S LIKE A CH ILD AT TIMES . $ I HAVE NO VOCATION . $ NONE WHATEVER . $ TAKING THE VEIL - THAT 'S JUST AN ESCAPE , ISN'T IT ? $ 01 MOST PEOPLE WOULD CALL IT A DEDICATION . $ 02 I 'VE ALWAYS THOUGHT OF IT AS AN ESCAPE . $ 01 FROM WHAT ? $ 02 A SORDID WORLD TO A SAINTLY ONE . $ BUT ONLY FOR THOSE WHO WANT TO BE SAINTS . $ 01 IF YOU CAN BE HAPPY IN IT , IT 'S CONSIDERED THE NEAREST THING TO HEAVEN . $ 02 I COULDN'T . $ I COULDN'T BE HAPPY IN IT . $ TO ME IT WOULD BE LIKE BEING LOCKED IN A CUPBOARD . $ AND ANYWAY , I DON'T FIND THE WORLD SORDID I FIND IT BEAUTIF UL - AND UNEXPECTED . $ AND TO HAVE TO LEARN TO CRUSH THE DESIRE FOR - FOR ALL THAT 'S MOST DESIRABLE - I DON'T BELIEVE WE WERE GIVEN FEELINGS S IMPLY TO SUPPRESS THEM . $ OH , THEY WERE KIND AND DEAR TO ME AT ARGENTEUIL AND I THINK OF THEM ALWAYS WITH AFFECTION , BUT THE ROOM WHERE THE BEGG ARS CAME AND WAITED FOR THE ALMONER SMELT OF UNWASHED RAGS , AND THE BUNCH OF HERBS THAT HUNG FROM THE CEILING WAS BLACK WITH DEAD FLIES . $ SOMETIMES I FELT AS IF EVERYONE THERE WAS IN LOVE WITH DEATH . $ NOT SISTER GODRIC , WHO 'S IRISH , OR REVEREND MOTHER , WHO DRINKS , BUT EVERYONE ELSE , EXCEPT THE NOVICES . $ I COULD NEVER BE A NUN . $ NEVER . $ < THE LIGHTS FADE . $ THE NUNS AND MONKS WHISPER " ABELARD " FOUR TIMES > $ #19 $ < ( SCENE EIGHT > $ < THE SAME . $ EARLY EVENING OF ANOTHER DAY . $ AUGUST $ THE PUPIL-TEACHER RELATIONSHIP HAS ALL BUT VANISHED > $ 01 THE PRIESTHOOD ? $ NO , I 'M TOO MUCH OF A REBEL . $ REASON CAN'T BREATHE IN THE CLOISTER . $ 02 BUT THERE 'S NO ADVANCEMENT FOR A MAN OUTSIDE THE CHURCH . $ AND YOU 'D SOON BE A BISHOP , AND THEN AN ARCHBISHOP , AND T HEN A CARDINAL , AND THEN ... $ 01 < ( AMUSED ) > $ HIS HOLINESS ? $ 02 WHY NOT ? $ YOU ALREADY HAVE THE HAIRCUT . $ < ABELARD LAUGHS > $ I 'M SERIOUS . $ DIDN'T PLATO SAY IT WOULD BE WELL FOR THAT STATE WHOSE KING WAS A PHILOSOPHER ? $ 01 YES , HE DID , BUT ... $ 02 SO WHAT OF CHRISTENDOM IF A PHILOSOPHER WERE POPE ? $ OH , WITH YOUR INTELLECT , YOUR ENERGY , YOUR SWAY OVER PEOP LE , I JUST KNOW YOU COULD REACH THE HIGHEST OFFICE . $ 01 MY DEAR CHILD ... $ 02 < ( SHARPLY ) > $ DON'T CALL ME THAT ! $ 01 BE GLAD TO BE YOUNG , HELOISE . $ NOTHING LASTS . $ 02 I THOUGHT ONLY THE OLD MADE THOSE REMARKS . $ 01 < ( MILDLY ) > $ THERE ARE TWENTY YEARS BETWEEN US . $ 02 IS THAT HOW YOU SEE YOURSELF ? $ AS OLD ? $ 01 HOW DO YOU SEE ME ? $ 02 AS A MAN IN HIS PRIME . $ 01 AND YOU - YOU ARE AT THE SPRING-TIME . $ < THEY ARE SUDDENLY VERY STILL , VERY AWARE . $ HE MAKES TO TOUCH HER HAIR , THEN WITHDRAWS HIS HAND > $ IT 'S JUST TWENTY YEARS - I WAS SEVENTEEN - WHEN I CLATTERED DOWN THE TRACK FROM LE PALAIS AND MADE MY WAY TO PARIS , WI TH BUT ONE THOUGHT IN MY MIND - MY LOVE OF LEARNING - AND BU T ONE DESIRE - TO GIVE ALL MY MIGHT TO LETTERS . $ YES , I 'M CONTENT TO TEACH . $ 02 IS THAT WHAT YOU 'VE MOST WANTED ALL YOUR LIFE ? $ TO BE A TEACHER ? $ 01 I THINK WHAT I MOST WANTED WAS TO BE FREE - OPEN TO THE W ORLD . $ AT ANY RATE , THAT WAS WHY I REFUSED TO BE KNIGHTED AND GO A ND PLAY THE SQUIRE AT CLISSON . $ 02 WHAT HAPPENED ? $ 01 MY FATHER SENT MY BROTHER INSTEAD . $ 02 WAS HE FURIOUS WITH YOU ? $ 01 I NEVER HAD A HARD WORD FROM MY FATHER . $ HE WAS MORE OF A SAINT THAN ANY MAN I EVER KNEW . $ IT WAS MOTHER WHO GAVE US WHAT CHIDING WE GOT , WHICH WAS LI TTLE ENOUGH . $ SHE TOOK THE VEIL AT POITIERS TWO MONTHS AFTER HE ENTERED AT SAINT SAVIN . $ IT 'S NOT THE WORST END , TO HAVE SERVED IN THE WARS AND TAK EN A WIFE AND BEGOTTEN CHILDREN AND THEN AT THE LAST TO TAKE DOWN ONE'S SAIL AND RIDE AT ANCHOR IN GOD . $ #20 $ 02 < ( SOFTLY ) > $ COULD THAT BE THE WAY FOR YOU ? $ 01 < ( SUDDENLY RESTLESS ) > $ I HATE TO BE TIED . $ THE LIGHT 'S GOING . $ I 'LL GET THE CANDLES . $ 02 NO , DON'T . $ IT 'S SUCH A NIGHT . $ LET 'S JUST WAIT AND WATCH THE DARKNESS . $ IT 'S BREATHTAKING , ISN'T IT , PARIS AT NIGHT . $ LIKE A GREAT SHIP , HIGH ON THE WATER . $ I NEVER KNEW MY MOTHER . $ TELL ME ABOUT YOURS . $ 01 SHE HAD THE MOST BEAUTIFUL EYES . $ NOT JUST LOVELY . $ LOVELINESS IS AN EASY THING . $ MOST WOMEN HAVE SOMETHING OF IT WHEN THEY 'RE YOUNG . $ BUT BEAUTY - ONE , PERHAPS TWO IN A GENERATION . $ 02 AND ARE THEY HAPPY ? $ 01 HAPPY ? $ WHAT DO THEY WANT WITH HAPPINESS ? $ THEY KNOW ECSTASY . $ < ( MOVING VERY NEAR HER ) > $ HAPPINESS ? $ A DOG ASLEEP IN THE SUN . $ A DOG - ASLEEP ... $ < SUDDENLY SHE IS IN HIS ARMS AND THE WORDS ARE LOST AS HE K ISSES HER MOUTH , HER EYES , HER THROAT . $ THE DAYLIGHT IS ALMOST GONE . $ HE BREAKS . $ SHE LOOKS UP AT HIM , SHAKEN , AFRAID - BUT WITH LOVE > $ 02 < ( IN A WHISPER ) > $ PETER ... ? $ < ABELARD TURNS BLINDLY AWAY AND GOES OUT $ TREMBLING , IN WONDER , SHE SPEAKS HIS NAME > $ PETER ... $ < THE LIGHTS FADE , THE MONKS AND NUNS WHISPER " PETER " SEV ERAL TIMES , LIKE AN ECHO > $ < SCENE NINE > $ < GILLES' ROOM . $ MORNING $ HELOISE IS STANDING ALONE . > $ 08 < ( OFF ) > $ PUSH , BOY , PUSH ! $ WHERE 'S YOUR ENERGY ? $ WHAT HAVE YOU BEEN DOING ALL NIGHT ? $ < GILLES IS WHEELED ON TOWARDS HELOISE BY HIS SERVANT , JEHA N > $ I APOLOGIZE FOR RECEIVING YOU LIKE THIS . $ < JEHAN GOES OUT AND RETURNS WITH A TRAY , JUG OF WINE AND G OBLET > $ 02 YOU LOOK VERY HANDSOME . $ BUT SHOULD YOU BE SITTING UP ? $ JEHAN SAYS YOUR SCIATICA ... $ 08 I SHALL DIE SITTING UP . $ I WILL NOT HAVE HIM POUR MY SOUP OVER MY FACE AS IF HE WERE MANURING RHUBARB . $ < ( TO JEHAN ) > $ BRING THE MOSELLE . $ #21 $ 02 NOT FOR ME . $ 08 FOR ME , FOR ME . $ 09 MASTER SIMON SAID YOU WASN'T TO DRINK . $ 08 TELL MASTER SIMON I HAD SCIATICA AND DRANK MYSELF OUT OF IT WHEN HE WAS CUTTING HIS FIRST TOOTH . $ 02 < ( READING FROM THE BOOK OF PSALMS ) > $ " WHITHER SHALL I GO FROM THY SPIRIT OR WHITHER SHALL I FLEE FROM THEY PRESENCE ? " $ 08 < ( TO JEHAN ) > $ HERE , GIVE IT TO ME . $ < ( HE TAKES THE FLAGON AND GOBLET FROM JEHAN AND POURS HIMS ELF A DRINK ) > $ < JEHAN PUTS THE TRAY DOWN AND EXITS > $ 02 " IF I ASCEND UP INTO HEAVEN , THOU ART THERE : IF I MAKE MY BED IN HELL , BEHOLD THOU ART THERE . $ IF I TAKE THE WINGS OF THE MORNING , AND DWELL IN THE UTTERM OST PARTS OF THE SEA , EVEN THERE SHALL THY HAND LEAD ME , A ND THY RIGHT HAND SHALL HOLD ME . " $ < ( SHE SNAPS THE BOOK SHUT , TENSE ) > $ NOT MUCH USE IN GOING AWAY , THEN . $ < ( SHE DROPS THE BOOK ON A CHAIR ) > $ 08 < ( WATCHING HER ) > $ DO YOU WANT TO GO AWAY ? $ 02 I NEED TIME . $ WHERE CAN I GO ? $ 08 THAT 'S EASY ENOUGH . $ IT 'S THE EVE OF ST MICHAEL . $ I SHALL SEND JEHAN TO ARGENTEUIL - HIS SISTER'S HUSBAND RUNS THE FERRY - WITH AN OFFERING FOR TOMORROW'S FEAST AND GREET INGS TO MY COUSIN THE ABBESS . $ YOU CAN RIDE PILLION BEHIND HIM AND COME BACK WITH HIM THIS EVENING . $ 02 OR NOT . $ 08 DON'T YOU WANT TO COME BACK ? $ 02 I DON'T KNOW . $ I SHAN'T KNOW - UNTIL I 'VE GONE . $ 08 < ( AFTER A PAUSE ) > $ WHERE IS YOUR UNCLE ? $ 02 AT MASS . $ 08 RUN BACK AND GET YOUR CLOAK . $ I SHALL TELL HIM THE SISTERS WERE GRIEVED AT BEING NEGLECTED ALL SUMMER AND THAT I URGED YOU TO GO AND MAKE AMENDS . $ 02 YOU 'LL LIE FOR ME ? $ 08 TRUTH HAS AS MANY COATS AS AN ONION - AND EACH ONE A PUZZ LE WHEN YOU PEEL IT . $ 02 TWO MINUTES WITH YOU - AND NOTHING MATTERS AS MUCH AS ONE THINKS IT DOES . $ < ( SHE HUGS HIM ) > $ 08 < ( WITH A YELP OF AGONY ) > $ JESUS , MARY AND JOSEPH ! $ 02 < ( SPRINGING UP ) > $ WHAT IS IT ? $ 08 MY HIP ! $ MY HIP ! $ 02 OH GOD ! $ I FORGOT . $ SHALL I RUB IT FOR YOU ? $ 08 < ( ROARING ) > $ RUB IT ? $ I 'D SOONER BE BROKEN ON THE WHEEL . $ AWAY WITH YOU , GIRL , AWAY WITH YOU ! $ < HELOISE TURNS TO GO > $ WAIT ! $ < ( HOLDING OUT THE WINE BOTTLE ) > $ TAKE THIS TO THE ABBESS . $ SHE 'S DRINKING HERSELF TO DEATH BUT SHE HAS MY PALATE AND W E DE VANNES ARE HARD TO KILL . $ THOUGH I 'M NOT SURE YOU HAVEN'T DONE FOR THIS ONE . $ < ( HE LIES BACK AND GROANS ) > $ #22 $ 02 ARE YOU CERTAIN YOU WOULDN'T LIKE ME TO ... $ 08 OUT ! $ OUT ! $ FOR PITY'S SAKE , OUT !! $ < THE LIGHTS FADE $ HELOISE EXITS AND JEHAN WHEELS GILLES AWAY IN HIS CHAIR . > $ < SCENE TEN > $ < THE CONVENT AT ARGENTEUIL $ WHEN THE LIGHTS COME UP , THE NUNS ARE REVEALED AT PRAYER , SINGING . $ THE MOTHER ABBESS FACES THEM . $ SHE IS AS MASSIVE AS GILLES , AND DEEP VOICED . > $ 22 DEUS IN ADJUTORIUM MEUM INTENDE DOMINE AD ADJUVANDUM ME F ESTINA GLORIA PATRI ET FILIO ET SPIRITUI SANCTO $ < THE NUNS KNEEL > $ SICUT ERAT IN PINCIPIO ET NUNC ET SEMPER ET IN SECULA SECULO RUM . $ AMEN ! $ 12 < ( SPOKEN ) > $ AND NOW TO GOD THE FATHER , GOD THE SON , AND GOD THE HOLY . .. $ < THERE IS A GENTLE TINKLING OF THE CONVENT BELL . $ THE MOTHER ABBESS BREAKS OFF . $ TWO NUNS' HEADS COME UP > $ < ( FIRMLY ) > $ ... AND GOD THE HOLY GHOST - $ < THE HEADS GO INSTANTLY DOWN > $ - BE ASCRIBED , AS IS MOST JUSTLY DUE , ALL MIGHT , MAJESTY , DOMINION AND POWER , NOW AND FOR EVERMORE . $ 22 < ( SINGING ) > $ AMEN ! $ < THE BELL RINGS AGAIN . $ THE NUNS RISE . $ THE MOTHER ABBESS NODS TO SISTER LAURA , WHO MOVES TO THE GR ILL > $ 13 AVE MARIA PURISSIMA . $ 02 < ( OFF ) > $ CONCEIVED WITHOUT SIN . $ 13 < ( PEERING INTO THE SHADOWS ) > $ BLESSED VIRGIN ! $ LOOK WHO 'S HERE ! $ MY DEAR , MY DEAR , COME IN , COME IN . $ < SISTER LAURA GOES AND BRINGS IN HELOISE WHO CARRIES A BOTT LE UNDER HER CLOAK $ THE MOTHER ABBESS COMES FORWARD , FOLLOWED DISCREETLY BY THE NUNS . $ HELOISE DROPS TO HER KNEES AND KISSES THE ABBESS'S RING , TH EN RISES > $ 12 WELL , CHILD . $ < ( SHE KISSES HELOISE ) > $ YOU 'RE A SIGHT FOR SORE EYES . $ I WAS FOR GIVING YOU A GOOD SCOLDING , BUT I 'VE NO MIND FOR IT NOW . $ #23 $ HOW DID YOU COME ? $ 02 I RODE BEHIND JEHAN , REVEREND MOTHER . $ MASTER GILLES WAS SENDING HIM WITH OFFERINGS FOR THE FEAST T OMORROW AND HE - I BEGGED TO COME , TOO . $ 12 AND WHERE IS JEHAN ? $ 02 GONE TO HIS SISTER AT THE FERRY , BUT HE SET THE SADDLE-B AGS DOWN IN THE KITCHEN . $ THERE 'S A FRESH CHEESE AND BUTTER AND EGGS AND ... $ 12 < ( SEEING THE BOTTLE IN HELOISE'S HAND ) > $ WHAT 'S THAT BOTTLE ? $ 02 < ( HANDING IT TO HER ) > $ FOR YOU , MOTHER . $ FROM YOUR COUSIN . $ 12 < ( EXAMINING THE BOTTLE WITH APPROVAL ) > $ WE ALWAYS HAD A LIKE TASTE IN WINE . $ BUT IT WAS A RISK TO SEND IT IN THIS HEAT . $ I MUST HAVE IT DOWN TO THE CELLAR STRAIGHT . $ 16 MOTHER , SHALL I ... ? $ 12 < ( SEVERELY , CLUTCHING THE BOTTLE FIRMLY ) > $ WHEN I NEED HELP , I 'LL ASK FOR IT . $ PRESUMPTION IS A SIN . $ 16 < ( MEEKLY ) > $ YES , MOTHER . $ < THE ABBESS GOES OUT WITH THE WINE $ IN A FLASH THE NUNS CLUSTER EXCITEDLY AROUND HELOISE . $ SOME OF THE FOLLOWING DIALOGUE OVERLAPS > $ < ( KISSING HELOISE ) > $ OH , HELOISE , IT 'S BEEN SO DULL WITHOUT YOU ! $ 15 HELOISE , HOW YOU 'VE GROWN ! $ 17 WHAT KIND OF A PLACE IS PARIS ? $ 13 IS THAT THE WAY THEY WEAR THEIR HAIR NOW ? $ 26 WHAT 'S KEPT YOU SO LONG ? $ HAVE YOU COME TO STAY ? $ 13 YES , HAVE YOU COME BACK TO US , CHILD ? $ 02 PERHAPS . $ I - I DON'T KNOW . $ I ... $ < ( HEMMED IN BY THE NUNS AND SUDDENLY NAUSEATED , SHE SWAYS ) > $ 15 WHAT IS IT ? $ 02 IT 'S NOTHING . $ THIS PLACE ... $ < ( SHE SWAYS , THEN CRUMPLES ) > $ 16 SHE 'S FAINT ! $ < THE NUNS SUPPORT HELOISE AS SHE FALLS > $ 17 I THOUGHT SHE LOOKED WHITE . $ 13 LET HER LEAN ON ME . $ WATER , SISTER . $ < ( GISELLA FETCHES A BEAKER OF WATER ) > $ THAT 'S RIGHT . $ DON'T CROWD HER , NOW . $ LET HER BREATHE . $ THAT 'S BETTER . $ HERE , CHILD . $ 02 < ( DRINKING THE WATER ) > $ IT WAS THE HEAT . $ 13 OF COURSE . $ < ( STROKING HELOISE'S FOREHEAD ) > $ THE LONG RIDE IN THE HOT SUN . $ LIE STILL , NOW . $ DON'T TRY TO GET UP . $ 02 I 'M ALL RIGHT . $ IT WAS ONLY A MOMENT . $ < ( SHE RISES AND GIVES A NUN THE BEAKER ) > $ 13 WILFUL AS EVER . $ 02 I 'M WELL , REALLY . $ IT 'S BETTER WATER HERE THAN IN PARIS . $ YOU DAREN'T DRINK IT THERE . $ < ( LOOKING ROUND ) > $ WHERE 'S GODRIC ? $ #24 $ 16 < ( WITH A SOB IN HER VOICE ) > $ GODRIC ... $ 02 WHERE IS SHE ? $ 15 DIDN'T YOU HEAR ? $ 16 SHE MISSED THE CORNER STEP , COMING DOWN FROM THE CHOIR . $ 17 YOU KNOW HOW DARK IT IS . $ 13 AND BROKE HER LEG . $ 02 OH NO ! $ 16 YES , AND IT ISN'T KNITTING VERY WELL . $ 13 I 'M AFRAID SHE 'S TOO OLD . $ 26 SISTER LAURA IS MISTRESS OF THE NOVICES NOW . $ AND REVEREND MOTHER SAYS ... $ < THE ABBESS ENTERS , WIPING HER LIPS > $ 12 NOW , NOW . $ THAT 'S ENOUGH CHATTER FOR A WHILE . $ YOU CAN HAVE HELOISE AFTER DINNER , BEFORE YOU GO TO THE DOR TER . $ 02 MOTHER , MAY I SEE GODRIC ? $ < NUNS AND MONKS ARE HEARD SINGING IN THE BACKGROUND > $ 12 SHE 'S IN THE INFIRMARY . $ YOU KNOW THE WAY . $ < THE LIGHTS FADE ON THE ARGENTEUIL CHAPEL $ THE ABBESS AND THE NUNS FILE OUT . $ SISTER GODRIC , AN OLD , BENT FIGURE , IS CARRIED ON LYING P ROPPED UP ON A LITTER BED WITH A KIND OF RUDE READING DESK O VER IT . $ FOUR MONKS BEAR THE LITTER . $ THEY LAY IT DOWN , THEN EXIT $ SISTER GODRIC LIES PEERING SHORT-SIGHTEDLY AT A BOOK . $ HELOISE APPROACHES HER > $ 14 < ( LOOKING UP , SQUINTING ) > $ YOU 'RE NOT THERE , I DON'T BELIEVE IT , I 'M HAVIN' A VISIO N . $ < HELOISE RUNS AND KNEELS BY HER AND KISSES HER > $ HOLY MARY , BUT IT 'S HERSELF IN PERSON ! $ WELL , WELL . $ 02 OH MY DEAR - $ < ( HUGGING HER ) > $ - BUT YOU 'RE SO THIN . $ YOUR POOR LITTLE WRISTS - THEY 'RE NO BIGGER THAN LARKS' LEG S . $ 14 < ( CHUCKLING ) > $ LARKS' LEGS . $ THAT 'S A GOOD ONE . $ I LIKE THAT . $ I MUST MAKE A MENTAL NOTE . $ LARKS' LEGS . $ 02 IS IT VERY PAINFUL ? $ 14 OCH , THE DIVIL CAN HAVE ME LEGS AND WELCOME , BUT HE 'S AFTER ME EYES TOO , THE FLIBBERTIGIBBET . $ WHAT DOES IT SAY THERE , DARLIN' ? $ < ( SHE PUSHES HER BOOK AT HELOISE ) > $ 02 < ( READING ) > $ " AH , BUT THEY WERE GOOD DAYS , WHEN YOU AND I SAT QUIET AM ONG THE BOOKSHELVES . " $ 14 SO THEY WERE , SO THEY WERE . $ I MUST HAVE KNOWN YOU WERE COMIN' . $ WELL NOW , TELL ME EVERY MORTAL T'ING AND NOT A WORD OF LIE . $ IS IT A FACT THAT MASTER ABELARD SAYS YOU 'RE THE BEST SCHOL AR HE EVER HAD ? $ 02 WHERE DID THAT COME FROM ? $ MY UNCLE ? $ 14 NEVER YOU MIND . $ DID HE SAY IT OR DIDN'T HE ? $ #25 $ 02 NO . $ BUT HE DID SAY TO GILLES DE VANNES I WAS THE BEST TRAINED SC HOLAR HE 'D HAD . $ AND GILLES SAID HE COULD WELL BELIEVE IT , FOR THE TEACHER W HO TRAINED ME WAS YOU . $ 14 < ( PREENING HERSELF ) > $ ORGULOUS AS A PEACOCK , THAT 'S WHAT I 'LL BE FROM THIS DAY . $ YOU 'VE PUT ANOTHER TEN YEARS ON ME IN PURGATORY . $ 02 MY FIRST TEACHER AND MY DEAREST FRIEND . $ 14 STOP IT NOW OR I 'LL STUFF ME EARS WITH CELERY STALKS . $ < SISTER LAURA COMES IN > $ 13 REVEREND MOTHER WANTS TO KNOW IF YOU HAVE THE ACCOUNTS RE ADY , GODRIC . $ SHE 'S SEEING THE STEWARD AFTER VESPERS . $ 14 < ( PULLING A FACE , THEN SPEAKING FIRMLY ) > $ TELL REVEREND MOTHER THE SUM FOR WINE FOR THE ALTAR SEEMS EX CESSIVE , AND I 'M GOIN' THROUGH IT WITH A TOOTHCOMB . $ < SISTER LAURA GOES OUT , SCARED > $ < ( GRINNING LIKE A NAUGHTY BOY ) > $ DRAT THE THINGS , I CLEAN FORGOT . $ READ ME THOSE FIGURES , WILL YOU , DEAR , AND WITH GOD'S HEL P I 'LL DO ME SUMS . $ < ( SHE PASSES HELOISE A PARCHMENT ) > $ 02 " TO CAKES FOR ST MARTIN'S . $ ALSO WINE . $ THIRTY-FIVE SOUS . " $ 14 < ( WRITING ON ANOTHER PARCHMENT WITH A QUILL PEN ) > $ " ALSO WINE " IS GOOD . $ THIRTY-FIVE . $ 02 " TO WINE BOUGHT BEFORE WHITSUN . $ SIXTY SOUS . " $ 14 THIRTY-FIVE AND SIXTY - NINETY-FIVE . $ 02 " TO WINE FOR THE ARCHDEACON . $ TWENTY-EIGHT SOUS . " $ 14 LET 'S HOPE HE GOT NEAR ENOUGH TO SMELL IT . $ TWENTY-EIGHT AND NINETY-FIVE ... $ 02 A HUNDRED AND TWENTY-THREE . $ 14 YOU 'RE RIGHT . $ COME . $ 02 " TO TWELVE PAIRS OF SHOES FOR THE POOR . $ FIFTEEN SOUS . " $ 14 LET 'S SEE - A HUNDRED AND THIRTY-SIX ? $ 02 EIGHT . $ 14 THE LORD SENT YOU . $ I NEVER COULD ADD . $ 02 < ( FONDLY ) > $ PETER CAN'T , EITHER . $ IT 'S THE ONE THING HE 'S NO GOOD AT . $ 14 < ( LOOKING UP SHARPLY ) > $ PETER ? $ SO IT 'S PETER , IS IT ? $ < ( HELOISE TURNS QUICKLY AWAY > $ COME HERE A MINUTE . $ COME . $ < RELUCTANTLY , HELOISE TURNS TO GODRIC , WHO PEERS AT HER C LOSELY > $ SO THAT 'S THE WAY OF IT . $ 02 < ( SOFTLY , RAPT ) > $ TO SPEAK HIS NAME - TO BE IN THE SAME ROOM - SAYING NOTHING , OR LISTENING TO HIM TALK - IT 'S AS IF I 'VE BEEN WAITING FOR HIM FROM THE DAY I WAS BORN . $ HIS VOICE - HE HAS THE MOST WONDERFUL VOICE - AND HE KNOWS S O MUCH - AND TELLS YOU THINGS - THINGS THAT YOU 'VE ALWAYS K NOWN IN YOUR HEART AND COULD NEVER FIND THE WORDS TO SAY THE M . $ FROM THE FIRST MOMENT I KNEW , I KNEW . $ #26 $ HE KNEW , TOO , I THINK . $ FOR BOTH OF US IT WAS LIKE - COMING HOME . $ 14 YOU FRIGHTEN ME , CHILD . $ 02 WHY ? $ 14 BECAUSE YOU LOVE HIM SO . $ 02 BUT I WANT TO LOVE HIM . $ TO LOVE AND LOVE AND GIVE AND GIVE - TO GO ON LOVING AND GIV ING - TO BE HIS - UNTIL I DIE . $ 14 THEN WHY HAVE YOU RUN AWAY ? $ < HELOISE DOES NOT ANSWER > $ BECAUSE OF THE HURT YOUR LOVE COULD DO HIM ? $ 02 < ( AFTER A PAUSE ; GRADUALLY ) > $ IT 'S JUST BEGUN . $ I COULD BEAR IT NOW - I THINK I COULD JUST BEAR IT - IF I NE VER SAW HIM AGAIN . $ BUT IF I GO BACK - IF I SEE HIM AGAIN - THEN IT WILL BE TOO LATE TO STOP - THEN IT WILL BE - FOR EVER . $ < ( SHE KNEELS BY THE LITTER . $ URGENTLY ) > $ TELL ME . $ TELL ME ! $ 14 SO THAT 'S WHY YOU CAME . $ FOR ME TO SAY WHAT YOU WANT TO HEAR . $ 02 TELL ME . $ 14 I 'LL NOT SAY IT . $ I 'LL NOT MAKE IT EASY FOR YOU . $ 02 TELL ME . $ LIKE YOU ALWAYS DID . $ 14 LISTEN , IF I 'VE YOU ON ME MIND AS WELL AS MESELF , ME C ONSCIENCE 'LL BE DOIN' CARTWHEELS . $ < ( SHE RUBS HER HANDS ) > $ COLD OUT , IS IT ? $ 02 < ( RISING ) > $ NO , IT 'S WARM . $ 14 WHEN YOU 'RE OLD , THE SUN CAN BOIL , YOU GET THE SHIVERS . $ < ( INTENTLY ) > $ ASK GOD . $ ASK GOD FOR GUIDANCE . $ 02 I CAN'T . $ IT WOULDN'T BE FAIR . $ I ONLY BELIEVE IN GOD WHEN I 'M DESPERATE . $ 14 < ( AFTER A MOMENT ) > $ I NEVER COULD MAKE UP ME MIND WHETHER YOUR INFERNAL HONESTY WAS BEELZEBUB DOIN' A JIG OR THE LATEST ANGEL IN THE MAKIN' . $ < A BELL TOLLS > $ THERE 'S THE BELL FOR OFFICE . $ YOU MUST GO TO CHAPEL . $ RUN ALONG NOW . $ 02 < ( KNEELING ) > $ BLESS ME FIRST . $ 14 < ( PLACING HER HAND ON HELOISE'S HEAD ) > $ HOLY MARY , MOTHER OF GOD , BLESS AND KEEP THIS LOVING CHILD , FOR THERE 'S NOT AN OUNCE OF EVIL IN HER . $ ONLY INNOCENCE . $ < ( SHE CROSSES HERSELF ) > $ < THE BELL CEASES TOLLING > $ LET 'S HOPE THAT 'S NOT THE LIE OF THE CENTURY . $ NOW OFF WITH YOU . $ DESTINY . $ < UNCERTAIN , HELOISE RISES AND STARTS TO GO > $ < ( SLOWLY ) > $ MY CHILD - $ < HELOISE STOPS AND LOOKS BACK > $ - IN DONEGAL , WHERE I COME FROM , THEY 'RE A SUPERSTITIOUS LOT . $ THEY BELIEVE IN THE UNAVOIDABLE . $ THERE 'S BIRTH , O' COURSE , AND DEATH , O' COURSE , YOU CAN 'T AVOID EITHER O' THEM . $ BUT EVERY ONCE IN A WHILE , THEY SAY , THERE 'S SOMETHIN' SA NDWICHED 'TWEEN THE TWO - AND YOU CAN'T DO NOTHIN' ABOUT THA T , EITHER . $ #27 $ FATE , THEY CALL IT . $ DESTINY . $ OH , THEY 'RE GREAT ON FATE IN DONEGAL . $ MESELF , I DON'T BELIEVE A WORD OF IT . $ < MONKS ARE HEARD SINGING IN THE DISTANCE > $ SEND ME A SHEEPSKIN FOR THE WINTER . $ WHITE , IF YOU CAN . $ WHITE HAS THE BEST WOOL . $ < HELOISE EXITS . $ THE LIGHTS FADE AS THE MONKS CARRY GODRIC OFF . > $ < SCENE ELEVEN > $ < ABELARD'S ROOM IN FULBERT'S HOUSE . $ NIGHT . $ ROBERT IS SITTING ON A STOOL . $ ABELARD IS STANDING BY THE TABLE , HOLDING A WHIP . > $ 01 THERE . $ < ( WHACKING THE TABLE WITH HIS WHIP ) > $ A MAKESHIFT EFFORT , BUT IT SHOULD SERVE . $ 06 < ( TIGHT-LIPPED ) > $ NO . $ 01 LOOK ON IT AS PRACTICE FOR WHEN YOU RETURN TO CLUNY . $ THE SCOURGE WILL BE EXPECTED . $ 06 TO DISCIPLINE ONESELF . $ NOT ANOTHER . $ < FOUR MONKS AND SIX NUNS ENTER UPSTAGE AND STAND IN LINE , FACING ACROSS THE STAGE > $ 01 THAT 'S SELF-INDULGENCE , WHEN ANOTHER NEEDS IT MORE . $ < ( THRUSTS THE WHIP INTO ROBERT'S HANDS ) > $ SHE MAY STILL COME BACK . $ WHAT DO YOU THINK ? $ < ROBERT DOES NOT ANSWER > $ HAVE YOU NEVER LOVED A WOMAN , ROBERT ? $ 06 NO , MASTER . $ 01 ONLY GOD ? $ 06 < ( AFTER A PAUSE ; AT ABELARD ) > $ I HAVE NEVER LOVED A WOMAN . $ 01 < ( NOT MISSING THE DISTINCTION , BUT IGNORING IT ) > $ NOR I - $ < ( SHE STARTS REMOVING HIS SHIRT ) > $ - UNTIL NOW . $ HOW OLD ARE YOU ? $ 06 TWENTY-TWO . $ 01 FOR THE SEVEN YEARS OF MANHOOD YOU HAVE BEHIND YOU , AND THE FIFTEEN BEFORE YOU TILL YOU REACH MY AGE , I HAD NEVER L OVED . $ I THOUGHT I WAS INCAPABLE OF IT . $ AND THEN - SUDDENLY - LIKE AN AVALANCHE ... $ < ( NAKED TO THE WAIST , HE FALLS TO HIS KNEES ) > $ I 'M READY . $ 06 < ( STUBBORNLY ) > $ YOU 'RE NOT A PRIEST . $ YOU 'RE NOT SUBJECT TO THE DISCIPLINE . $ 01 ARE ONLY GOD'S MINISTERS ALLOWED TO MORTIFY THE FLESH ? $ 06 YOU COULD FAST . $ 01 YES , AND PUT AN EDGE ON EVERY SENSE I HAVE . $ WHAT THE BODY LACKS , BOY , THE MIND MAKES UP FOR . $ LORD , WHAT AN ORGY OF THE MIND A FAST INDUCES ! $ NO , THIS IS THE WAY - IF THERE IS A WAY . $ < RELUCTANTLY , ROBERT STARTS TO SCOURGE ABELARD'S BACK > $ #28 $ HARDER ! $ HARDER ! $ HARDER ] $ 06 < ( STOPPING ) > $ NO ! $ I CAN'T ! $ 01 < ( RISING AND DELIBERATELY PROVOKING HIM ) > $ HER EYES , ROBERT , HER EYES , HER BREASTS , HER YOUNG BREAS TS , HER MOUTH - LIKE A BALM - HER MOUTH ... $ 06 < ( VIOLENTLY ) > $ ALL RIGHT ! $ ALL RIGHT ! $ < ( HE LASHES AT ABELARD VIOLENTLY REPEATEDLY ) > $ < ABELARD CRIES OUT . $ WHEN HE HAS FINISHED , ROBERT THROWS DOWN THE WHIP > $ 01 < ( SURPRISED ; PAINFULLY ) > $ WELL - THAT WAS MORE LIKE IT . $ YOU KNOW , I BELIEVE YOU - QUITE ENJOYED IT - IN THE END . $ DID YOU - ENJOY IT , LITTLE MONK ? $ IN ANY CASE - I 'M OBLIGED TO YOU . $ < ( SUDDENLY ) > $ DO YOU THINK SHE WENT SIMPLY TO WHET THE APPETITE ? $ NO , THEY SAY MEN LOVE TO POSTPONE DELIGHT , BUT WOMEN NEVER . $ WHY 'S THAT , DO YOU SUPPOSE ? $ EH , BOY ? $ 06 < ( TREMBLING) > $ I - DON'T KNOW . $ 01 BECAUSE MEN LIVE IN THEIR IMAGINATION AS WELL AS IN THEIR SENSES , BUT WOMEN ONLY IN THEIR SENSES ? $ IS THAT IT ? $ 06 I DON'T KNOW , I TELL YOU , I DON'T KNOW ! $ 01 YOU MUST HAVE THOUGHT ABOUT THESE THINGS . $ NOT EVEN ACADEMICALLY ? $ YOU SHOULD HAVE , ROBERT . $ YOU 'RE A STUDENT . $ ALL PART OF YOUR HIGHER EDUCATION . $ MIND AND BODY , BODY AND MIND . $ A MISTAKE , TO NOURISH THE ONE AND NEGLECT THE OTHER . $ AS A VIRGIN OF THIRTY-SEVEN I SPEAK WITH AUTHORITY . $ REMIND ME - BEFORE TERM ENDS - WE 'LL HAVE A SYMPOSIUM ON TH E SUBJECT , SHALL WE ? $ WIDEN YOUR EXPERIENCE . $ IT SHOULD BE QUITE STIMULATING . $ YES , I CAN THINK OF ONE OR TWO OF YOUR COLLEAGUES , CAN'T Y OU , WHO ARE - HOW SHALL I PUT IT ? $ - PHYSICALLY RATHER LESS DETACHED ... ? $ < ROBERT FALLS TO HIS KNEES AND PRESSES HIS HEAD AGAINST ABE LARD'S NAKED TORSO . $ ABELARD STROKES THE BOY'S HEAD > $ FORGIVE ME . $ WHEN ONE IS ON THE RACK , THERE 'S A VILE COMFORT IN SEEING A FRIEND SIMILARLY STRETCHED . $ < ( GENTLY ) > $ GO HOME NOW . $ 06 WILL YOU SLEEP ? $ 01 NO . $ 06 < ( RISING ) > $ I 'LL SIT ON THE LANDING . $ 01 NO . 06 I 'D LIKE TO . $ 01 NO ! $ GO HOME ! $ < HELOISE APPEARS QUIETLY IN THE DOORWAY . $ THERE IS A PAUSE , THEN ROBERT GOES QUICKLY PAST HELOISE AND OUT > $ 02 < ( EVENTUALLY ) > $ I WAS AT ARGENTEUIL . $ THEY KEPT ME TILL AFTER VESPERS . $ ARE YOU ANGRY ? $ 01 YOU 'RE BACK . $ NOTHING IN GOD'S EARTH OR HEAVEN MATTERS . $ YOU 'RE BACK . $ < ( HE COLLAPSES AT HER FEET , HIS WHOLE BODY SHAKING , THEN TURNS AND LOOKS UP AT HER ) > $ < HELOISE SEES THE WEALS ACROSS HIS BACK . $ SHE SINKS TO HER KNEES BESIDE HIM . $ HIS ARM GOES UP AND ENFOLDS HER . $ THE LIGHTS FADE . $ HELOISE AND ABELARD EXIT IN THE DARKNESS . > $ #29 $ < SCENE TWELVE > $ < GILLES' ROOM > $ 06 HE USED TO STAY AND TALK WHEN THE LECTURE WAS OVER . $ HOURS , HE 'D TALK , AND WE 'D NEVER KNOW WE WERE HUNGRY . $ OH , YOU DON'T KNOW HOW IT WAS . $ HIS LECTURES , THEY WERE LIKE A GREAT WIND THAT LEAPT SUDDEN LY , AND YOU WENT WITH IT , THE TREES TEARING AND SHAKING . $ HE WAS A HORSE AT THE GALLOP . $ HOW HE READS HIS NOTES AND YAWNS AND IS FOR EVER LOOKING AT THE HOUR-GLASS . $ THEY 'RE NOT AFRAID OF HIM NOW . $ IF YOU HEARD THEM SNICKERING WHEN HE COMES TO THE LECTURE AT SIX , HALF AWAKE . $ THEY 'VE MADE A SONG ABOUT IT . $ GOOD ARGUMENT HATH PETER IN HIS HEAD BUT BETTER ARGUMENT ... $ 08 I CAN SUPPLY THE RHYME . $ 06 GOD KNOWS , WE 'RE SPIRIT AND FLESH . $ BUT TO SEE THE SPIRIT BECOMING FLESH BEFORE ONE'S EYES ... $ < ( TORTURED ) > $ THEY MAKE SONGS ABOUT HER , TOO . $ 08 < ( FIERCELY ) > $ YOU SUPPOSE SHE CARES ? $ YOU THINK IT 'S THE DOVE AND THE HAWK ? $ I TELL YOU , BOY , YOU 'VE SEEN THE MATING OF EAGLES . $ AND YET - I KNOW , I KNOW . $ NEVER HAVE I SEEN SUCH MADNESS AS THIS . $ < JEHAN ENTERS WITH TWO GOBLETS AND A JUG OF WINE > $ 09 MASTER GILLES , WILL YOU SEE MASTER ALBERIC OF RHEIMS ? $ 08 WHY , YES . $ COME IN , ALBERIC . $ < ALBERIC ENTERS , A LARGE AND PORTLY FIGURE , VERY CONSCIOU S OF ITS DIGNITY > $ WELCOME . $ MAN , EVEN IF I HADN'T HEARD IT , I 'D KNOW FROM THE WALK OF YOU THEY 'VE MADE YOU MASTER OF THE SCHOOLS AT RHEIMS . $ < JEHAN EXITS $ GILLES SHAKES ALBERIC BY THE HAND > $ 18 MY WALK ? $ 08 WHY NOT ? $ THE SPIRIT SHOULD BE MIRRORED IN THE BODY . $ GODLINESS MAKES THE FACE TO SHINE - $ < ( HE DROPS ALBERIC'S HAND ) > $ - AND THE HAND TO SWEAT . $ < ROBERT TURNS AS IF TO GO > $ NO , STAY , ROBERT . $ < ( TO ALBERIC ) > $ HOW LONG HAVE YOU BEEN IN PARIS ? $ 18 SINCE PALM SUNDAY . $ I COULDN'T LEAVE WITHOUT SEEING OUR NESTORW , AND I HAVE GRE ETINGS FOR YOU FROM THE ARCHBISHOP . $ 08 TELL HIM FROM ME WHAT A DISTINGUISHED SCHOLASTIC HE 'S GO T , IF YOU 'VE NOT ALREADY DONE SO . $ #30 $ BLESS ME , TO THINK OF YOU SITTING IN GERBERT'S CHAIR . $ 18 I TRUST THE DOCTRINE TAUGHT FROM IT WILL BE SOUNDER . $ 08 SAFER , ANYWAY . $ UPON MY WORD , ALBERIC , AT THIS RATE THERE 'LL SOON BE AN E XODUS FROM PARIS TO RHEIMS . $ 18 IF THE LECTURE I HEARD TWO DAYS AGO IS A SAMPLE OF THE FA RE HERE , THE SOONER THE BETTER . $ 06 < ( POLITELY ) > $ YOU WERE UNFORTUNATE SIR . $ WHOM DID YOU HEAR ? $ 18 THE GREAT ABELARD HIMSELF . $ A BARREN WIT . $ I ALWAYS KNEW IT . $ WOULD YOU BELIEVE IT , THE LECTURE I HEARD ON MONDAY WAS , W ITH ONE EXCEPTION , THE SAME I HEARD HIM GIVE THREE YEARS AG O , AT LAON ? $ 08 A MARVELLOUS MEMORY , YOURS , ALBERIC . $ IT MUST BE THE SECRET OF YOUR SUCCESS . $ 18 MY MEMORY IS TOLERABLY GOOD . $ BUT I HAVE SPECIAL REASON TO RECALL THIS LECTURE . $ IT WAS THE FIRST HE HAD THE GALL TO GIVE - WITHOUT A LICENCE . $ 08 I UNDERSTOOD HE WAS CHALLENGED TO IT . $ IS THAT SO ? $ 18 IN A MANNER , YES . $ HE HAD THE IMPUDENCE TO DECLARE THAT IN THEOLOGY A MAN NEEDS NO MASTER SAVE HOLY WRIT AND HIS OWN INTELLIGENCE . $ 08 A DANGEROUS DOCTRINE . $ ACCEPT IT AND HALF OF US WOULD BE OUT OF A JOB . $ AND SO YOU CHALLENGED IT ? $ 18 I DID . $ 08 AND HE LECTURED , I SUPPOSE , TO EMPTY BENCHES ? $ 18 THERE ARE ALWAYS LOVERS OF NOVELTY . $ HE DREW THE LIGHTER SORT . $ 08 A HANDFUL OF IRRESPONSIBLES . $ 18 EXACTLY . $ 08 ROBERT , WINE FOR MASTER ALBERIC . $ < ROBERT POURS WINE INTO THE TWO GOBLETS FOR GILLES AND ALBE RIC > $ ROBERT IS ON LEAVE FROM CLUNY TO STUDY AT NOTRE-DAME . $ 18 OH ? $ UNDER WHOM ? $ 06 UNDER THE GREATEST MASTER IN CHRISTENDOM . $ MASTER PETER ABELARD . $ 18 < ( FLUSHING ) > $ WHAT DID YOU SAY ? $ 08 NOW , NOW , ALBERIC . $ MAYN'T A STUDENT BE LOYAL TO HIS MASTER ? $ 18 LOYAL ! $ TO A MASTER WHO CAN'T MASTER HIMSELF ? $ < ROBERT GOES TO DRAG ALBERIC TO HIS FEET > $ A MAN WHO 'S A WENCHER , A LECHER AND A ... $ 08 < ( THUNDERING ) > $ ROBERT !! $ < ROBERT , ABOUT TO STRIKE ALBERIC ACROSS THE FACE , LOWERS HIS ARM > $ 18 I SUPPOSE YOU KNOW , IF THEY TEACH YOU ANY CANON LAW AT C LUNY , THAT WOULD HAVE MEANT EXCOMMUNICATION ? $ 06 YOU KNOW NOTHING ABOUT HIM . $ HE WAS NEVER YOUR MASTER . $ < ROBERT TURNS AND GOES QUICKLY OUT > $ 18 < ( GRIMLY ) > $ WHAT DUNGHILL WAS THAT COCKEREL REARED ON ? $ 08 < ( POURING WINE ) > $ HIS FATHER IS SQUIRE OF MONTBOISSIER . $ #31 $ 18 < ( SHAKEN ) > $ WHAT ? $ 08 < ( BLANDLY ) > $ AND IF I 'M NOT MISTAKEN YOU 'LL SOME DAY BE TELLING IN YOUR CUPS HOW YOU ONCE THREATENED EXCOMMUNICATION TO THE ABBOT O F CLUNY . $ 18 THAT ONE ABBOT OF CLUNY ? $ 08 AS SOON , I THINK , AS HIS YEARS ALLOW . $ 18 HE 'D BEST FIRST LEARN TO MIND HIS TEMPER . $ 08 EVEN WHEN PROVOKED , I AGREE . $ COME , YOU DID SPIT AT ABELARD . $ I DON'T QUITE KNOW WHY . $ 18 IF YOU DON'T , YOU 'RE THE ONLY MAN IN PARIS WHO DOESN'T - EXCEPT , I 'M TOLD , THE OLD FOOL , HER UNCLE . $ I TRIED TO HINT SOMETHING OF IT TO HIM TODAY . $ 08 ABELARD IS CONSUMED WITH LOVE ... $ 18 LOVE ? $ THE SEXUALITY OF THE SEWER . $ INSATIABLE CONCUPISCENCE . $ I TELL YOU , GILLES , THAT MAN 'S THE MOST DEPRAVED IT 'S EV ER BEEN MY MISFORTUNE TO ... $ < ABELARD , WITH A BOOK , ENTERS > $ 01 IT 'S NOT , IS IT ? $ YES , IT IS . $ OLD ALBERIC ! $ WELL DONE , MAN . $ RHEIMS HAD GOT A GOOD MASTIFF . $ 18 YOU 'LL EXCUSE ME , GILLES . $ I HAVE TO SUP WITH THE BISHOP . $ 08 WHERE ELSE ? $ ALBERIC ATTENDED YOUR LECTURE ON MONDAY , PETER . $ 01 REALLY ? $ MORNING OR AFTERNOON ? $ 18 THERE WAS NO MORNING LECTURE . $ IT WAS CANCELLED . $ 01 SO IT WAS , SO IT WAS . $ YOU MUST HAVE HEARD ME ON THE TRINITY . $ 18 FOR THE SECOND TIME . $ ONE ADDITION SURPRISED ME . $ 01 ONLY ONE ? $ 18 I NOTED THAT , WHILST YOU GRANT THAT GOD BEGAT GOD YOU DE NY THAT GOD BEGAT HIMSELF . $ 01 THAT IS SO . $ IF YOU WISH , I 'LL BE HAPPY TO EXPLAIN THE REASON . $ 18 I AM NOT CONCERNED WITH REASON . $ I ASK ONLY FOR THE WORD OF AUTHORITY . $ 01 YOU SHALL HAVE IT . $ " WHOSO ATTRIBUTES TO GOD THE POWER OF BEGETTING HIMSELF IS THE MORE IN ERROR BECAUSE IT IS NOT SO , NOT ONLY IN RESPECT OF GOD , BUT OF ALL CREATURES , CORPORAL OR SPIRITUAL : FOR THERE IS NOTHING WHATEVER THAT BEGETS ITSELF . " $ ST AUGUSTINE . $ BOOK ONE . $ CHAPTER ONE . $ 18 YES , YES , OF COURSE , BUT IT MUST BE RIGHTLY INTERPRETE D . $ 01 I HEARTILY AGREE . $ BUT WHAT YOU ASKED FOR WAS THE WORD OF AUTHORITY , NOT ITS M EANING . $ HOWEVER , IF YOU HAVE A MOMENT , I 'LL BE PLEASED TO EXPLAIN HOW YOU 'VE FALLEN INTO HERESY . $ 18 HERESY ? $ 01 < ( AFFABLY ) > $ THE HERESY WHICH DECLARES THAT THE FATHER IS HIS OWN SON . $ < SPEECHLESS , ALBERIC STORMS OUT . $ ABELARD REPLACES THE BOOK > $ 08 PETER , PETER . $ ANOTHER ENEMY . $ 01 WELL , I 'VE NO USE FOR THESE DIALECTICAL BULLY-BOYS . $ AND ALBERIC - GOD , WHAT A BLADDER OF LARD ! $ WHAT A HILL OF SUET ! $ #32 $ < JEHAN ENTERS > $ 09 YOUR SUPPER , MASTER ? $ 08 WILL YOU STAY AND EAT IT WITH ME , PETER ? $ 01 NO , I - I HAVE TO GET BACK . $ < JEHAN GOES $ THERE IS A SUDDEN CONSTRAINT BETWEEN GILLES AND ABELARD . $ GILLES DRINKS . $ EVENTUALLY ABELARD HOLDS OUT THE BOOK HE HAS BROUGHT IN > $ SHE ASKED ME TO RETURN THIS . $ 08 MY HOMER . $ SHE COULD HAVE BROUGHT IT HERSELF . $ I WOULDN'T HAVE SNAPPED . $ IS SHE WELL ? $ < ABELARD NODS > $ AND YOU ? $ THEN , GOOD-NIGHT , PETER . $ 01 < ( INITIMATELY ) > $ GILLES - IT 'S INDESCRIBABLE . $ AS IF WE 'D - INVENTED A NEW EMOTION . $ 08 DON'T ALL LOVERS FEEL THAT ? $ 01 SHE 'S CAPTURED MY LIFE . $ I 'M - HELPLESS - BEFORE A GIRL OF SEVENTEEN . $ 08 EVEN IF IT WERE TROJAN HELEN - CLEOPATRA - APHRODITE - EV EN THEN IT WOULD BE MADNESS . $ 01 BUT IT 'S NOT . $ IT 'S HELOISE ... $ 08 I 'VE NOT KNELT TO GOD FOR FIFTEEN YEARS . $ I WOULD PRAY FOR YOU - IF I COULD . $ FOR BOTH OF YOU . $ 01 ALL THE FAITH IN FRANCE CAN'T STOP IT NOW . $ < ABELARD GOES QUICKLY . $ THERE IS A PAUSE $ GILLES TAKES THE CUSHION FROM HIS CHAIR , THROWS IT ON THE G ROUND , AND LOWERS HIMSELF PAINFULLY TO HIS KNEES > $ 08 " O LAMB OF GOD THAT TAKEST AWAY THE SINS OF THE WORLD , HAVE MERCY UPON US . $ O LAMB OF GOD THAT TAKEST AWAY THE SINS OF THE WORLD , HAVE MERCY UPON US - $ < JEHAN ENTERS WITH A PLATE OF FISH > $ - O LAMB OF GOD THAT TAKEST AWAY THE SINS OF THE WORLD , REC EIVE OUR PRAYER . " $ < THE " AGNUS DEI " IS HEARD . $ JEHAN STOPS IN DISBELIEF . $ THE LIGHTS FADE $ JEHAN AND GILLES EXIT IN THE DARKNESS > $ #33 $ < SCENE THIRTEEN > $ < ABELARD'S ROOM IN FULBERT'S HOUSE $ THE ROOM IS LIT BY A FAINT BLUR OF MOONLIGHT $ THE NUNS ENTER AND FACE DOWNSTAGE . $ THE MONKS ENTER AND KNEEL AT THEIR FEET , FACING UPSTAGE . $ HELOISE ENTERS , NAKED , FROM ONE SIDE . $ ABELARD ENTERS , NAKED , FROM THE OTHER > $ 02 HOLD ME - HOLD ME , PETER - CLOSER - CLOSER STILL . $ < THERE IS A LONG , DEEP EMBRACE . $ SHE SIGHS HAPPILY > $ NOW I 'M SAFE . $ < HE LOOKS DOWN AT HER , STROKES HER HAIR , CHUCKLES > $ WHY DO YOU LAUGH ? $ 01 THERE 'S A WARNING . $ ABOUT WOMEN . $ PROVERBS . $ CHAPTER FOUR . $ 02 VERSE TEN . $ < THE NUNS LIFT THEIR HEADS AND RAISE THEIR HANDS SLOWLY SO THAT THE MOVEMENTS ARE COMPLETED BY THE WORD " DARLING " BEL OW , WHEN THEY ALL SIGH , LOWER THEIR HEADS TO LOOK AT THE M ONKS AND LOWER THEIR HANDS TO CUP ROUND THE MONKS' FACES > $ " LET THY HEART NOT BE DRAWN INTO THE WAYS OF WOMAN . " $ < ( SLOWLY SINKING TO HER KNEES ) > $ " LOSE NOT THYSELF IN HER PATHS . $ FOR HER HOUSE IS THE WAY TO HELL . $ SHE IS THE NET OF THE HUNTER . $ HER HEART IS A SNARE . $ HER HANDS ARE CHAINS . $ HE WHO PLEASETH GOD ESCAPES HER , BUT THE SINNER IS HER PREY . " > $ 01 YOU KNOW IT ? $ 02 I HAD TO LEARN IT ONCE AS A PUNISHMENT . $ 01 < ( KNEELING TO FACE HER ) > $ AM I YOUR PREY , MY DARLING ? $ 02 I HOPE SO . $ OH , I HOPE SO , PETER . $ < ( SINKING TO LIE BACK ON THE FLOOR ) > $ LOVE ME . $ LOVE ME . $ < ABELARD GOES DOWN ON THE FLOOR BESIDE HER . $ THERE IS THE SOUND OF A WALKINGSTICK SCRAPING AGAINST A DOOR IN THE TOWER . $ THE MONKS RISE > $ 01 WHAT 'S THAT ? $ 02 < ( IN A WHISPER ) > $ GUIBERT . $ HE 'S ALWAYS LATE TO BED . $ 01 HE MUST BE DRUNK . $ < THEY RETURN TO THEIR EMBRACE $ SOMEONE FUMBLES WITH THE LATCH OF THE DOOR . $ IT OPENS . $ FULBERT STANDS THERE , FULLY DRESSED . $ THE MONKS SWING ROUND TO WATCH WITH ACCUSING FACES > $ 10 < ( LOOKING DOWN AT THEM ) > $ THEY TOLD ME , AND I LOATHED THEM . $ I LOATHED THEM FOR LYING . $ < HELOISE REACHES FOR A FUR RUG AND WRAPS IT ROUND HER > $ IT 'S ALL RIGHT - IT 'S A LIE - IT 'S A LIE - $ < ( SCREAMING ) > $ - IT 'S A LIE ! $ < ( HE RAISES HIS STICK TO STRIKE ABELARD , THEN SWAYS AND F ALLS TO THE GROUND , THE STICK CRASHING WITH HIM ) > $ #34 $ ABELARD CATCHES HIM AS HE FALLS . $ FULBERT LIES BREATHING STERTOROUSLY , HIS MOUTH AWRY > $ 01 QUICK , THE LIGHT . $ I THINK IT 'S A STROKE . $ 02 I 'LL GET YVONNE . $ < ( SHE MOVES AWAY ) > $ < ABELARD LAYS FULBERT GENTLY BACK ON THE FLOOR . $ HELOISE RETURNS > $ PETER , I 'VE JUST REMEMBERED . $ YVONNE - SHE 'S OUT . $ 01 AT THIS HOUR ? $ WHERE ? $ 02 THE WATCHNIGHT SERVICE . $ PETER , IT 'S GOOD FRIDAY . $ < THE LIGHTS FADE TO BLACK-OUT . $ ALL THE BELLS OF NOTRE-DAME PEAL OUT A TRIUMPHANT DIAPASON . $ < SCENE FOURTEEN > $ < A NARROW CLOISTER OF THE CATHEDRAL . $ IT IS THE MORNING OF EASTER DAY $ PROCEEDING TO THE CATHEDRAL , BERNARD , ABBOT OF CLAIRVAUX , AUSTERE AND AUSTERELY GARBED , ENTERS , FOLLOWED BY GILLES DE VANNES , IN FULL CANONICALS . $ THE SOUND OF THE BELLS CONTINUES , MUTED > $ 08 I TELL YOU , BERNARD , THE THING IS IMPOSSIBLE . $ 19 WITH GOD ALL THINGS ARE POSSIBLE . $ 08 AMEN . $ BUT , BY YOUR LEAVE . $ BERNARD , YOU AND HE ARE NOT YET IDENTICAL . $ < BERNARD SMILES > $ THANK GOD YOU CAN STILL LAUGH AT YOURSELF . $ SMILE LIKE THAT AT YOUNG ROBERT DE MONTBOISSIER AND HE MIGHT JUST GO BACK TO CLAIRVAUX WITH YOU . $ 19 IF A MAN HAS ONCE SEEN THE FACE OF GOD , AS ROBERT DID , AND THEN TURNS FROM IT , IT WERE BETTER FOR HIM HE HAD NEVER BEEN BORN , FOR HE HAS CRUCIFIED THE SON OF GOD AFRESH . $ S AT LEAST DRY , HE CRUCIFIED NOT THE SON OF GOD BUT YOUR PR IDE . $ 08 BERNARD , ROBERT DID NOT TURN FROM GOD'S FACE BUT FROM YO UR FACE . $ AND IF THIS WERE NOT EASTER MORNING I SHOULD TELL YOU THAT I N LEAVING CLAIRVAUX , WHERE THE BRETHREN KNEEL IN GREEN SLIM E ON THE CHAPEL FLOOR , FOR CLUNY , WHERE HIS BED IF HARD WA S AT LEAST DRY , HE CRUCIFIED NOT THE SON OF GOD BUT YOUR PR IDE . $ < THE BELLS FADE OUT > $ 19 MY PRIDE ? $ IS IT POSSIBLE ANY MAN ON THIS EARTH SHOULD THINK ME PROUD ? $ 08 THERE 'S ONLY ONE MAN PROUDER THAN BERNARD OF CLAIRVAUX A ND THAT IS PETER ABELARD . $ 19 ABELARD ] $ 08 AND NOW YOU 'LL BE USING THE DISCIPLINE ON THOSE THIN SHO ULDERS FOR WEEKS , FOR FEAR I MAY BE RIGHT . $ 19 < ( HUMBLY ) > $ GOD KNOWS YOU MAY BE . $ < HELOISE , RADIANT IN BLUE CLOAK AND HOOD , ENTERS BEHIND T HEM AND STARTS TO CROSS THE STAGE . $ LOOKING EAGERLY ABOUT HER AS SHE PASSES , SHE PAUSES AT BERN ARD'S SIDE > $ #35 $ 02 FORGIVE ME , FATHER . $ < BERNARD STEPS BACK > $ < ( CROSSING BELOW GILLES ) > $ GILLES ! $ < HELOISE GOES > $ 19 WHO WAS THAT ? $ 08 A FRIEND . $ WE SHARE AN INTEREST IN HOMER . $ 19 A FRIEND . $ OF COURSE . $ I HAVE NEVER SEEN A FACE THAT HAD SO MARKEDLY THE MAKINGS OF A SAINT . $ 08 QUITE . $ HER NAME IS HELOISE . $ 19 < ( RIGID ) > $ NOT ABELARD'S WHORE ? $ 08 SHE WOULD , I THINK , SO DESCRIBE HERSELF . $ 19 GOD BLESS MY SOUL ! $ 08 HE WILL , BERNARD , NEVER DOUBT IT . $ < FIGURES START TO ENTER NOTRE DAME , MONKS , WITH SURPLICES OVER THEIR HABITS , CARRYING CANDELABRA AND ONE SINGLE POLE CANDLE , NUNS WEARING CANDLE HEAD-DRESSES AND CARRYING CAND LES . $ THEY TAKE UP POSITIONS IN THE BACKGROUND > $ 19 THAT ONE CAN LOOK AS SHE LOOKS , AND HER SOUL BE MIRED WI TH THE FILTHIEST SIN OF THE FLESH ! $ TRULY , GOD'S WAYS ARE PAST UNDERSTANDING . $ 08 < ( PLACIDLY ) > $ YOU AMAZE ME , BERNARD . $ I ALWAYS THOUGHT YOU HAD THE KEY TO THEM . $ SHALL WE GO IN ? $ < BERNARD AND GILLES GO INTO THE CATHEDRAL $ HELOISE ENTERS , FOLLOWED BY ABELARD , WHO WEARS HIS MASTER' S GOWN AND DOCTOR'S HOOD OVER HIS FINEST TUNIC > $ 01 < ( DISTRAUGHT ) > $ WHY DIDN'T YOU TELL ME SOONER ? $ WHY ? $ 02 I WAS GOING TO ON FRIDAY NIGHT , AND THEN ... $ 01 IT MAY NOT BE SO . $ YOU MAY BE MISTAKEN . $ 02 NO . $ I 'M QUITE CERTAIN . $ I 'VE BEEN READING ARISTOTLE TO FIND OUT . $ 01 READING ARISTOTLE . $ DEAR GOD , AND I 'VE BROUGHT YOU TO THIS . $ 02 BUT I 'M GLAD , PETER , CAN'T YOU SEE ? $ I 'VE NEVER BEEN SO HAPPY . $ ESPECIALLY NOW THAT YOU 'VE LEFT MY UNCLE'S HOUSE - $ < ( SHE PUTS ABELARD'S HAND TO HER STOMACH ) > $ - BECAUSE NOW I HAVE SOMETHING OF YOU WITH ME ALWAYS . $ THE RICHEST THING I EVER HAD . $ 01 OH , MY DEAR LOVE . $ < ( WITH DECISION ) > $ ONE THING 'S CERTAIN . $ YOU CAN'T STAY IN PARIS . $ I SHALL TAKE YOU HOME . $ 02 HOME ? $ 01 TO LE PALAIS . $ TO MY SISTER . $ 02 I CAN'T LEAVE MY UNCLE YET . $ 01 WHEN ? $ 02 MASTER SIMON SAYS HE SHOULD BE UP IN A WEEK . $ 01 VERY WELL . $ IN A WEEK . $ BUT FIRST - WE MUST MARRY . $ 02 < ( INSTANTLY ) > $ NO ! $ #36 $ 01 HELOISE ... $ 02 NO , THAT IS ONE SIN I WILL NOT COMMIT ! $ YOU KNOW WHAT THEY CALL ME ? $ ABELARD'S WHORE . $ 01 ABELARD'S WHORE ! $ 02 I GLORY IN IT . $ I WEAR IT LIKE A CROWN , PETER . $ 01 YOU 'LL MARRY ME AND BE MY WIFE . $ 02 NOT WIFE - BUT SO MUCH MORE THAN WIFE . $ 01 MY WIFE . $ MY WIFE BEFORE THE WORLD ! $ 02 NO ! $ THE PRIESTS WRITE HISTORY . $ WOULD YOU HAVE THEM SAY OF ME THAT HELOISE MADE ABELARD A NO BODY ? $ 01 HISTORY ! $ I 'M CONCERNED WITH NOW . $ 02 I WON'T RUIN YOU , PETER . $ 01 YOU SPEAK AS IF MARRIAGE WERE ADULTERY . $ 02 IT IS A KIND OF ADULTERY , FOR YOU . $ REMEMBER EVRARD ? $ 01 EVRARD WAS A PRIEST . $ HE 'D TAKEN VOWS . $ I 'M NOT ORDAINED . $ 02 YOU 'VE GONE HALF-WAY TO GOD . $ YOU BELONG TO THE CIVITAS DEI . $ IN THE EYES OF THE WORLD YOU 'RE SWORN TO CONTINENCE . $ < THREE MONKS ENTER THE CATHEDRAL WITH ORNATE ROBES OVER HAB ITS AND SURPLICES . $ THE CENTRE MONK WEARS A BISHOP'S HEAD-DRESS AND ROBE , AND C ARRIES A CROZIER . $ IN FRONT AND BEHIND HIM ARE THE CRUCIFERS CARRYING GOLDEN CR OSSES . $ THEY MOVE TO THE ALTAR , THEN STAND BEHIND IT , THE BISHOP S LIGHTLY ABOVE THE CRUCIFERS , WHO RAISE THEIR CROSSES HIGH > $ 01 DON'T YOU WANT OUR SON TO HAVE A NAME ? $ 02 NOT IF IN GIVING IT TO HIM I DESTROY HIS FATHER'S . $ 01 < ( AFTER A PAUSE ) > $ YOU DON'T LOVE ME ENOUGH . $ 02 OH , PETER , PETER , I WILL LOVE YOU WITH ALL MY SOUL TO THE LAST MOMENT OF MY DYING BREATH . $ BUT MARRY ME AND YOU WON'T JUST BE BREAKING FAITH WITH YOUR FUTURE , YOU 'LL BE BREAKING FAITH WITH SOMETHING YOU PLEDGE D YOURSELF TO BEFORE YOU WERE TONSURED . $ 01 I BREAK FAITH EVERY TIME I TAKE YOU IN MY ARMS . $ 02 I KNOW YOU DO . $ I KNOW WE 'RE LIVING IN WHAT THE CHURCH CALLS FORNICATION , EVEN IF IT 'S BURNT UP HEAVEN AND EARTH INTO SUCH A GLORY TH AT I CRY OUT IN ADORATION OF IT WHEN I SHOULD BE ON MY KNEES REPENTING IT . $ BUT I 'VE ACCEPTED THAT . $ I KNOW IT 'S A SIN . $ DON'T ASK ME TO SPRINKLE IT WITH HOLY WATER . $ 01 BUT YOUR REPUTATION - YOUR GOOD NAME ... $ 02 OH , MY DARLING , DON'T YOU KNOW I 'D FLING THE WORLD AWA Y AND HEAVEN WITH IT TO HAVE YOU LOVE ME FOR AN AFTERNOON ? $ WITHOUT YOU , NOTHING . $ WITH YOU , ALL THINGS . $ WHAT ELSE MATTERS IN THE UNIVERSE ? $ 01 I COULD LAY MY HEAD IN THE DUST . $ 02 I 'D LIE THERE WITH YOU , LIKE YOUR SHADOW . $ BE HAPPY , PETER . $ I AM . $ WILDLY HAPPY . $ AND IN SEVEN DAYS I 'LL GO WITH YOU TO LE PALAIS . $ 01 YOU SWEAR IT ? $ 02 WHERE ELSE SHOULD OUR SON BE BORN , BUT IN HIS FATHER'S H OUSE ? $ < ABELARD TAKES HELOISE IN HIS ARMS , AND THEY ARE LOST TO A LL BUT EACH OTHER . $ #37 $ AS THEY EMBRACE , THE CATHEDRAL BLAZES WITH LIGHT AND ECHOES WITH THE SOUND OF " GLORIA PATRI " FROM THE VICTORIA MAGNIF ICAT . $ THE CANDELABRAS OVERHEAD AND CANDLES ON AND AROUND THE ALTAR FLICKER AS THEY BURN . $ THE NUNS SWITCH ON THEIR CANDLE HEAD-DRESSES AND CANDLESTICK S . $ THE MONKS SWITCH ON THEIR CANDLES AND CANDELABRAS . $ THE BISHOP AND CRUCIFERS TURN UPSTAGE AND , LED BY THE BISHO P , MOVE IN PROCESSION TO THE ALTAR . $ AS THE CHORAL EUCHARIST REACHES ITS CLIMAX , HELOISE BREAKS FROM ABELARD'S EMBRACE AND EXITS $ ABELARD TURNS AND STARES TRANSFIXED AT THE CROSS . $ THE CATHEDRAL LIGHTS FADE AND A LIGHT COMES UP ON ABELARD > $ 01 < ( TURNING DOWNSTAGE ) > $ O GOD , WHO DIDST FASHION ME OF EARTH , HOW CAN I BUT SMELL OF IT ! $ #38 $ 25 < ( IN A SHOUT ) > $ AMEN ! $ AMEN ! $ AMEN ! $ < THE LIGHTS BLACK-OUT > $ < CURTAIN > $ #38 $ < ACT TWO > $ < SCENE ONE > $ < OUTSIDE THE HOMESTEAD AT LE PALAIS , BRITTANY . $ SPRING , A YEAR LATER $ DAPPLED LIGHTING COMES UP ON AN APPLE ORCHARD . $ ABELARD IS STRETCHED OUT ON A GRASS BANK IN THE SUN . $ DENISE , HIS SISTER , A PLACID COUNTRYWOMAN , SITS ON A BENC H PEELING MUSHROOMS . $ IN ONE CORNER IS A WOODEN CRADLE . $ TWO MONKS STAND ON AN UPPER LEVEL OF ONE TOWER , HOLDING GIL DED BRANCHES . $ DISTANT MUSIC IS HEARD FROM A PIPE , AND A BIRD SONG > $ 01 PEACEFUL . $ 20 MM ? $ 01 STILL AND PEACEFUL . $ EVERYTHING . $ 20 IT 'S SUNDAY . $ 01 SO IT IS . $ < ( HE STRETCHES ) > $ WITH ALL THE SAINTS INTENT ON THE PRAYERS OF THE FAITHFUL AN D THE WHOLE WORLD DRONING WITH DEVOTION LIKE A HIVE OF BEES . $ < ( HE TOYS WITH A BLOOM IN HIS HAND ) > $ I WONDER WHAT ADAM THOUGHT , HIS FIRST SPRING OUTSIDE PARADI SE , WHEN THE THORNS THAT HAD CURSED HIM ALL WINTER BROKE IN TO ANYTHING SO SMALL AND WHITE AND TENDER AS THIS . $ < ( HE SITS UP ) > $ < THE PIPE AND BIRD SONG FADE OUT > $ THE SPRINGS I 'VE WASTED INSIDE TOWNS . $ TO THINK THAT I COULD HAVE LIVED AND DIED HERE , PLOUGHED AN D SOWN , HAD HALF A DOZEN LIKE YOUNG PETER . $ < ( HE RISES AND GOES TO THE CRADLE ) > $ I ENVY YOU , DENISE . $ 20 YOU 'VE WRITTEN BOOKS . $ I 'VE HAD CHILDREN . $ EACH IS A WAY OF LIFE . $ 01 YES , BUT MINE ... $ < ( SUDDENLY ) > $ HE 'S NOT BREATHING . $ 20 YOU DON'T SAY . $ 01 I TELL YOU , MY SON'S CHEST IS NOT MOVING , I CAN HEAR NO SOUND . $ < ( HE PRODS THE BABY ) > $ 20 THEY DON'T ROAR LIKE A HURRICANE AT FOUR MONTHS - $ THE CHILD STARTS TO YELL > $ - UNLESS , OF COURSE , SOME FOOL OF A FATHER PRODS THEM IN T HE BELLY . $ 01 I WAS JUST TESTING - MAKING SURE ... $ < HELOISE COMES QUICKLY OUT OF THE HOUSE , GOES TO THE CRADL E , ROCKS IT , AND DANDLES A SPRIG OF BLOSSOM IN THE CHILD'S FACE . $ IS - HE QUITE FIT ? $ NOT - SICK , IS HE ? $ < THE BABY STOPS CRYING . $ HELOISE EXCHANGES GLANCES WITH DENISE , WHO ROLLS HER EYES A T THE IDIOCY OF MEN . $ HELOISE SMILES AT ABELARD AND MURMURS ENDEARMENTS AT THE BAB Y > $ < ( TO DENISE ) > $ IT IS SOME SORT OF MIRAGE OF THE HEART OR IS SHE REALLY LOVE LIER THAN EVER ? $ #39 $ 20 IT SUITS HER HERE - AND WHEN YOU 'RE ABLE TO BE WITH HER - MUST YOU GO BACK TOMORROW ? $ < HUGH , DENISE'S HUSBAND , COMES THROUGH THE ORCHARD CARRYI NG A WOODEN PAIL , AND MOVES TO THE PUMP . $ CHILDREN'S VOICES FROM INSIDE THE HOUSE CALL " MAMA , MAMA " $ 21 THERE 'S THE CHILDREN BACK FROM CATECHISM . $ 27 < ( OFF ) > $ MAMA ! $ 20 YES , ALL RIGHT , I 'M COMING . $ < DENISE GOES , UNHURRIED , INTO THE HOUSE > $ 21 < ( PUMPING WATER INTO THE PAIL ) > $ I WAS THINKING - WE MIGHT HAVE A BIT OF FISHING , IF YOU COU LD STAY . $ 01 I 'M SORRY , HUGH , I 'D HAVE LIKED TO FISH WITH YOU . $ < HELOISE LOOKS AROUND , SOMETHING ON HER MIND . $ EVENTUALLY : > $ 21 QUEER , HOW LENT AND THE CLOSE SEASON FOR TROUT OVERLAP . $ < HUGH GOES INTO THE HOUSE > $ 02 YOUR LAST DAY . $ < ( SHE COMES TO ABELARD ) > $ 01 < ( PUTTING AN ARM LIGHTLY ROUND HER ) > $ HOW TENDERLY I LOVE YOU NOW . $ 02 WHEN WILL YOU COME AGAIN ? $ 01 MAKE IT UNNECESSARY . $ COME BACK WITH ME TO PARIS . $ BE MY WIFE . $ < HELOISE AT ONCE MOVES AWAY OUT OF HIS ARM > $ IT 'S GOD'S WAY , HELOISE . $ 02 FOR THE LAYMAN , NOT THE CLERIC . $ 01 NOW LISTEN - WILL YOU LISTEN TO ME ? $ 02 NOT THE CLERIC , PETER . $ 01 WILL YOU ... ? $ 02 NO . $ I 'LL LISTEN TO TERENCE , JEROME , CICERO , JOSEPHUS , PYTHA GORAS , SOCRATES ... $ 01 YES , YES , YES , YOU 'VE QUOTED THE CLASSICS ON THE SUBJ ECT TILL I 'M DIZZY . $ GOD KNOWS WHO TAUGHT YOU SUCH SCHOLARSHIP . $ 02 YOU DID . $ 01 A GRAVE MISTAKE . $ WOMEN SHOULD BE KEPT ILLITERATE . $ OH , MY DARLING , WHAT ARE YOU AFRAID OF ? $ 02 LOSING YOU . $ 01 AND TO MARRY ME WOULD BE TO PART FOR EVER ? $ A CURIOUS LOGIC , EVEN FOR A WOMAN . $ 02 I 'M NOT ASHAMED TO BE CALLED YOUR HARLOT . $ I WOULD BE ASHAMED TO BE CALLED YOUR WIFE . $ 01 I BEG YOU ... $ 02 NO . $ I 'LL DO NO HARM AS YOUR HARLOT . $ THEY 'LL ONLY LAUGH AND SING A SONG ABOUT IT , AND WITH ME A WAY IN BRITTANY , THEY 'LL FORGET . $ MY DARLING , IT 'S DEATH IN LIFE EACH TIME YOU GO AWAY , BUT YOU 'LL COME BACK AND WE SHALL STILL BE HAPPY . $ #40 $ 01 < AFTER A PAUSE > $ HOW GOD LOOKS UPON US I CAN'T TELL . $ WHEN ALL THE GOOD THAT 'S IN ME IS BOUND UP WITH LOVING YOU , HOW CAN IT BE EVIL ? $ BUT IT MAY BE SO - AND IF IT IS THERE 'S PENANCE FOR IT . $ 02 THEN DO PENANCE AND BE ABSOLVED . $ 01 THERE 'S SOMETHING ELSE . $ < ( PAINFULLY ) > $ THE OLD MAN TRUSTED ME . $ I ATE AT HIS TABLE , SLEPT UNDER HIS ROOF , SHARED HIS HOME . $ HE TRUSTED ME - AND I BETRAYED HIS TRUST . $ DON'T YOU SEE ? $ IT 'S NOT JUST BETWEEN YOU AND ME , OR US AND GOD , IT 'S BE TWEEN ME AND HIM . $ A POINT OF HONOUR . $ 02 < ( WITH A BURST OF BITTERNESS , ALMOST HYSTERIA ) > $ HONOUR ! $ A POINT OF HONOUR ! $ OH , A MAN AND HIS HONOUR ! $ HOW CAN A WOMAN EVER ANSWER THAT ? $ 01 WHAT ANSWER IS THERE ? $ WHAT CAN YOU SET AGAINST IT ? $ 02 INSTINCT . $ 01 AN ABSTRACTION . $ 02 HONOUR , INSTINCT . $ TWO ABSTRACTIONS . $ OR IS HONOUR A CONCRETE THING ? $ 01 I WAS BROUGHT UP TO BELIEVE THAT IT WAS . $ 02 THESE MASCULINE CODES - THEY HAVE NO MEANING TO A WOMAN , PETER ! $ 01 THEN DO IT BECAUSE I ASK IT . $ 02 KNOWING IT 'S WRONG ? $ 01 IF NECESSARY , YES . $ 02 AH , THAT 'S NOT FAIR ... $ 01 DO IT FOR ME , HELOISE . $ 02 < ( TORN ) > $ PETER , YOU DON'T KNOW THE POWER YOU HAVE OVER PEOPLE ... $ 01 DO IT FOR ME . $ 02 I - I 'VE NEVER REFUSED YOU ANYTHING - OH , GOD ... $ 01 FOR ME , HELOISE . $ FOR ME . $ 02 IT 'S WRONG , PETER , I KNOW , I KNOW IT 'S WRONG ! $ 01 < ( EAGERLY ) > $ BUT YOU 'LL DO IT ? $ YES ? $ HELOISE ? $ 02 I CAN ONLY SAY - THE GRIEF THAT 'S TO COME WILL BE NO LES S THAN THE LOVE THAT WENT BEFORE IT . $ < ( HELPLESSLY ) > $ YES ! $ YES , I 'LL DO IT ! $ < OVERJOYED , HE SWEEPS HER OFF HER FEET , AND WHIRLS HER RO UND IN HIS ARMS > $ 01 DENISE ! $ DENISE ! $ HERE ! $ QUICKLY ! $ 02 PUT ME DOWN ! $ 01 WHY ? $ < ( PUTTING HER DOWN ) > $ YOU 'RE NOT PREGNANT AGAIN , ARE YOU ? $ 02 OF COURSE NOT , BUT ... $ < HUGH ENTERS > $ 21 YOU 'D BEST LOOK AT THE MARE IF YOU 'RE GOING TO RIDE HER TOMORROW , PETER . $ I THINK SHE 'S LAME . $ < ( DENISE HURRIES OUT OF THE HOUSE > $ 20 WHAT IS IT ? $ WHAT 'S WRONG ? $ 01 NOTHING . $ HUGH SAYS THE MARE 'S LAME . $ OH , AND WE 'RE GOING TO BE MARRIED . $ < ABELARD GOES WITH HUGH > $ #41 $ 20 < ( EMBRACING HELOISE ) > $ OH , MY DEAR . $ EVER SINCE THAT FIRST NIGHT WHEN I SAW HUGH LIFT YOU DOWN FR OM YOUR HORSE , IT 'S WHAT I 'VE PRAYED FOR . $ 02 AND I HAVE PRAYED AGAINST . $ 20 AGAINST ? $ 02 IT 'S THE END OF ANY GREAT PLACE FOR HIM IN THE CHURCH . $ 20 I NEVER COULD SEE PETER A BISHOP . $ 02 THEY COULD TAKE THE SCHOOLS FROM HIM . $ 20 WHEREVER PETER IS , THE SCHOOLS WILL BE . $ HE EMPTIED PARIS ONCE . $ IF THEY TURN HIM OUT , HE 'LL DO IT AGAIN . $ 02 DON'T YOU THINK HE 'S WRONG TO MARRY ? $ 20 I THINK HE 'D BE WRONG NOT TO . $ OH , I WENT WITH HUGH A WHOLE SUMMER BEFORE WE WERE MARRIED AND WASN'T ASHAMED , AT LEAST NOT IN MY HEART . $ AND YET , ONCE I 'D MARRIED HIM - IT 'S LIKE DRINKING WHEN Y OU 'RE THIRSTY . $ YOU FEEL BETTER IF YOU STOP TO SAY A BENEDICAT OVER IT . $ 02 A RITUAL OF PRETTY WORDS . $ WHAT DIFFERENCE DOES THAT MAKE ? $ 20 THE DIFFERENCE IS THAT I COULD SAY MY PRAYERS BEFORE I WE NT TO BED WITH HIM . $ I COULDN'T BEFORE . $ IT SEEMED LIKE CHEATING . $ 02 < ( THOUGHTFULLY ) > $ I DON'T SAY ANY PRAYERS , EXCEPT FOR PETER . $ SO IT DOESN'T MATTER . $ < ABELARD ENTERS BRISKLY > $ 01 WELL , DO WE HAVE YOUR BLESSING ? $ 20 < ( KISSES HIM ) > $ WHERE WILL IT BE ? $ HERE ? $ 01 NO , PARIS . $ < ( TO HELOISE ) > $ WE 'LL NEED YOUR UNCLE'S CONSENT . $ 20 IN VIEW OF THE CHILD , COULD HE REFUSE ? $ 01 I DON'T SEE HOW HE CAN . $ NOW , WE 'D BETTER NOT RIDE IN PUBLICLY , SIDE BY SIDE . $ IT MIGHT LOOK AS IF WE 'RE DEFYING CONVENTION JUST WHEN WE ' RE BOWING TO IT . $ WE 'LL HAVE TO GET YOU INTO THE CITY BY STEALTH . $ THE QUESTION IS HOW . $ 20 I KNOW HOW . $ < DENISE HURRIES INTO THE HOUSE > $ 02 PETER , THE MARRIAGE MUST BE A SECRET . $ 01 OF COURSE . $ UNTIL WE GET HOME . $ AND THEN ALL PARIS SHALL KNOW THAT ABELARD AND HELOISE ARE M AN AND WIFE . $ 02 < ( URGENTLY ) > $ NO ONE MUST KNOW , EXCEPT MY UNCLE . $ PROMISE ME - NO ONE . $ 01 NOT EVEN THE PRIEST ? $ < HELOISE SMILES $ DENISE ENTERS WITH A VOLUMINOUS BLACK GARMENT OVER HER ARM > $ 20 < ( TO HELOISE ) > $ HERE . $ SLIP THIS ON OVER YOUR DRESS . $ 02 < ( DRAWING BACK INSTINCTIVELY ) > $ WHAT IS IT ? $ 20 ONLY A NUN'S HABIT . $ < ( TO ABELARD ) > $ IT WAS MOTHER'S . $ REMEMBER ? $ #42 $ < RELUCTANTLY HELOISE ALLOWS THE CREASED BLACK DRAPERIES TO BE LOWERED OVER HER HEAD . $ SUDDENLY SHE SCREAMS . $ ABELARD GOES TO HER > $ 02 NO ! $ I CAN'T ! $ I CAN'T ! $ PETER ! $ < ( SHE STRUGGLES WITH THE FOLDS , BECOMING HOPELESSLY ENTAN GLED ) > $ < ABELARD TEARS THE ROBE OFF HER . $ SHE STANDS SHAKING WITH FRIGHT > $ 01 WHAT IS IT ? $ 02 I DON'T KNOW . $ I - I SUPPOSE IT WAS WHAT GODRIC MEANT WHEN SHE USED TO SAY THAT SHE COULD FEEL SOMEONE WALKING OVER HER GRAVE ... $ < HELOISE STANDS TREMBLING AS THE LIGHTS FADE TO A BLACK-OUT . $ A SINGLE BELL TOLLS > $ < SCENE TWO > $ < THE NARROW CLOISTER OF NOTRE-DAME > $ < ECHOING VOICES , RISING AND FALLING , ARE HEARD CALLING " FULBERT - FULBERT - FULBERT - FULBERT " . $ FIVE NUNS ENTER AND FORM WITH THE MONKS TWO OBLIQUE LINES BE TWEEN THE TOWERS , FULBERT ENTERS ; HE IS OLDER AND SHABBIER , AND MOVES SLOWLY , LEANING ON HIS STICK . $ ABELARD ENTERS TO HIM . $ HE IS CLOAKED . $ THE ECHOING VOICES DIE AWAY > $ 01 FULBERT ! $ I WILL SPEAK WITH YOU . $ 10 YOU - YOU DARE TO - IN THE VERY PRECINCTS OF THE CATHEDRA L ... $ 01 THREE TIMES I 'VE BEEN TO THE HOUSE ... $ 10 AND THREE TIMES I HAVE SAID I WILL NOT SEE YOU ! $ YES , AND I 'LL SAY IT THREE HUNDRED TIMES IF ... $ 01 QUIET , MAN . $ LISTEN . $ < THE MONKS AND NUNS TURN TO LOOK AT ABELARD > $ 10 THERE IS NOTHING TO BE SAID BETWEEN US . $ NOTHING ! $ 01 VERY WELL . $ THEN I SHALL TAKE HER BACK TO BRITTANY . $ 10 BACK ? $ YOU MEAN SHE 'S HERE ? $ HERE IN PARIS ? $ 01 YES , WITH THE CHILD . $ 10 A CHILD ! $ 01 A FINE BOY . $ FOUR MONTHS . $ 10 SO - THERE 'S A CHILD . $ 01 I CAME TO TELL YOU - AND TO ASK YOU FOR HER HAND IN MARRI AGE . $ 10 < ( THUNDERSTRUCK ) > $ YOU - WOULD MARRY ? $ 01 THERE 'S A CONDITION . $ 10 AH , CONDITIONS , CONDITIONS . $ I DON'T LIKE CONDITIONS . $ 01 I DON'T LIKE THEM EITHER . $ THE CONDITION IS HERS , NOT MINE . $ THE MARRIAGE MUST BE SECRET . $ 10 A SECRET MARRIAGE ? $ NO ! $ 01 IF I HAD MY WAY I 'D SHOUT IT FROM THE ROOFS OF PARIS , B UT SHE 'LL HAVE IT A SECRET OR NOTHING . $ #43 $ 10 NO ! $ 01 LISTEN , AND CAREFULLY . $ AFTERWARDS , IF YOU AGREE , SHE 'LL COME BACK AND LIVE WITH YOU AGAIN , JUST AS SHE USED TO . $ WE 'LL LIVE APART - PROVIDED WE MAY SEE EACH OTHER WHENEVER WE WISH . $ WELL ? $ < THERE IS A PAUSE $ HELOISE , CLOAKED , ENTERS AND SITS DOWNSTAGE > $ 10 I MUST THINK . $ I DON'T LIKE SECRETS , DON'T LIKE SECRETS , NO . $ I MUST WEIGH THE POSITION . $ BALANCE THE POSSIBILITIES . $ YES , INDEED - I MUST THINK . $ < ( HE STARTS TOWARDS THE CATHEDRAL ) > $ 01 FULBERT , DON'T YOU WANT TO SEE HER ? $ < THE MONKS AND NUNS TURN AWAY > $ 10 < ( TURNING BACK ) > $ SEE HER ? $ SEE HER ? $ NO , I WON'T SEE HER - I WON'T SEE ANYONE ... $ < A SPOTLIGHT COMES UP ON HELOISE . $ FULBERT STARES > $ 02 UNCLE ... $ 10 < ( AT LENGTH ) > $ MY LITTLE DOVE - MY DARLING . $ < ( HE LOOKS AT HELOISE PATHETICALLY ) > $ DOES LIFE BREAK EVERY MAN ? $ IN WRATH REMEMBER MERCY . $ I MUST - I MUST THINK ... $ < THE LIGHTS FADE $ THE NUNS EXIT . $ THE MONKS FORM ANOTHER GROUP , WATCHING THE ENSUING SCENE > $ < SCENE THREE > $ < THE CRYPT OF ST AIGNAN'S CHAPEL . $ A CHILL DAWN . $ GILLES STANDS AT A SMALL , MAKESHIFT ALTAR . $ ABELARD AND HELOISE ARE KNEELING SIDE BY SIDE . $ FULBERT STANDS BEHIND THEM . $ THERE ARE SOUNDS OF A TINKER RIDING BY CALLING HIS WARES , J ANGLING POTS , A DOG BARKING > $ 08 < ( READING HURRIEDLY ) > $ BENEDIC , DOMINE , HUNC ANULLUM , QUEM NOS IN TUO NOMINE BEN EDICIMUS , UT QUAE EUM GESTAVERIT , FIDELITATEM INTEGRAM SUO IN MUTUA CARITATE SEMPER VIVAT . $ SPONSO TENENS , IN PACE ET VOLUNTATE TUA PERMANEAT , ATQUE IN MUTUA CARITATE SEMPER VIVAT . $ PER CHRISTUM DOMINUM NOSTRUM . > $ < FULBERT'S EYES NEVER LEAVE ABELARD AND HELOISE > $ 02 01 AMEN . $ 08 < ( PERFUNCTORILY ) > $ REPEAT AFTER ME . $ < ABELARD REPEATS EACH SENTENCE > $ #44 $ WITH THIS RING I THEE WED ; THIS GOLD AND SILVER I THEE GIVE ; WITH MY BODY I THEE WORSHIP ; AND WITH ALL MY WORLDLY GOO DS I THEE ENDOW . $ < ABELARD PLACES THE RING ON HELOISE'S THUMB > $ IN THE NAME OF THE FATHER - $ < ABELARD TRANSFERS THE RING TO HER SECOND FINGER > $ - AND OF THE SON $ < ABELARD TRANSFERS THE RING TO HER THIRD FINGER > $ - AND OF THE HOLY GHOST . $ < ABELARD TRANSFERS THE RING TO HER FOURTH FINGER AND LEAVES IT THERE > $ AMEN . $ CONFIRMA HOC , DEUS , QUOD OPERATUS EST IN NOBIS . $ A TEMPLO SANCTO TUO , QUOD EST IN JERUSALEM . $ < ( HE TURNS AWAY AND CLOSES THE BOOK ) > $ 01 KYRIE ELEISON . $ 02 CHRISTE ELEISON . $ 01 KYRIE ELEISON . $ < ABELARD AND HELOISE CROSS THEMSELVES . $ HELOISE IS STRAINED AND SHIVERING . $ ABELARD KISSES HER TENDERLY . $ SHE FORCES A SMILE . $ GILLES PUTS ON HIS FUR CAPE > $ 02 IT 'S COLD . $ < ( SHE RISES ) > $ < FULBERT GESTURES AT HELOISE WITH HIS STICK $ HELOISE EXITS , AND FULBERT FOLLOWS $ ABELARD INSTINCTIVELY MAKES TO FOLLOW ALSO , BUT FULBERT , A S HE GOES , BARS THE WAY WITH HIS STICK > $ 01 WELL , IT 'S DONE . $ < ( HE PULLS HIS CLOAK ABOUT HIM ) > $ 08 MORE 'S THE PITY . $ ABELARD MARRIED - THERE 'LL BE FINE SONGS ABOUT THAT . $ 01 THERE 'LL BE NO SONGS . $ 08 HA ! $ 01 I HAVE HIS WORD . $ 08 HIS WORD ! $ THAT 'S A STRONG TOWER . $ DID YOU SEE HIS EYES , MAN ? $ LIKE THE FLASH OF AN ADDER IN THE LONG GRASS . $ 01 NO , NO , NO . $ HE SWORE BY ST MICHAEL AND ALL THE ANGELS . $ 08 THEY SAY PROVIDENCE HAS A CARE FOR CHILDREN AND FOOLS . $ I 'VE SMALL USE FOR EITHER . $ < ( HE PICKS UP HIS BOOK AND CLOTH AND MOVES AWAY ) > $ 01 WON'T YOU WISH ME WELL ? $ 08 < ( DEEPLY TROUBLED ) > $ I BELIEVE IT WOULD BE BETTER TO WISH YOU A BROKEN NECK . $ 01 BETTER A BROKEN NECK THAN BROKEN FAITH . $ 08 AND THAT FROM THE MASTER OF LOGIC , THAT FROM THE VOICE O F REASON , THAN FROM THE MIND THAT SET THE CENTURY ABLAZE ! $ YOU 'VE HAD TOO MUCH TRADE WITH WORDS , PETER . $ < ( BITTERLY ) > $ BUT THERE - NO MATTER . $ SOME DAY - IT MAY BE A HUNDRED YEARS FROM NOW - IT MAY BE TW O HUNDRED - BUT SOME DAY ANOTHER WILL SPEAK OF REASON AS YOU ONCE DID , AND BRING TOGETHER THE WHOLE SUMMA OF THEOLOGY B Y JUST SUCH METHODS AS YOURS - AND THEY WILL WRITE HIS NAME IN THE CALENDAR OF SAINTS AND HANDLE HIS WORK AS IF IT WERE THE ARK OF THE COVENANT . $ #45 $ AND WHERE WILL ABELARD BE ? $ SMASHED . $ FORGOTTEN . $ A DESERTER FROM THAT LITTLE BAND OF IMMORTALS WHO ALONE GIVE A MEASURE OF MEANING TO MAN'S EXISTENCE . $ AND FOR WHAT ? $ A WOMAN . $ YOU FOOL , PETER . $ YOU - NO , NOT FOOL - CLOWN . $ YOU NAIVE AND TOTAL CLOWN . $ < ( HE MOVES AWAY AGAIN ) > $ 01 GILLES - THANK YOU FOR MAKING HER MY WIFE . $ 08 WHOM THE GODS WOULD DESTROY THEY FIRST MAKE SENTIMENTAL . $ < GILLES GOES $ ABELARD LOOKS ABOUT HIM > $ 01 IT SHOULDN'T BE LIKE THIS . $ ALL THE BELLS SHOULD RING FOR US . $ < SILENCE . $ THE LIGHTS FADE . $ ABELARD EXITS IN THE DARKNESS > $ < SCENE FOUR > $ < ABELARD'S OLD ROOM AND THE LANDING OFF IT . $ NIGHT $ THERE IS A TABLE WITH BOOKS , AND A CHAIR $ HELOISE HURRIES IN . $ SHE IS CLOAKED > $ 02 < ( URGENTLY ) > $ PETER . $ < ROBERT ENTERS WITH A BOOK . $ THE MONKS MOVE AWAY AND ARE JOINED BY TWO OTHERS AND BY NUNS , WHO PLACE THEMSELVES BY THE TOWERS AND PEER THROUGH WITH HARD , ACCUSING FACES > $ OH ! $ 06 HE SAID I COULD - HE OFFERED ME THE USE OF THIS BOOKS WHI LE HE 'S AWAY . $ 02 AWAY ? $ 06 AT LIEGE . $ THE CONVOCATION . $ 02 < ( MOMENTARILY STUNNED , THEN SINKING DOWN EXHAUSTED ) > $ I FORGOT . $ HE WON'T BE BACK TILL FRIDAY . $ 06 FRIDAY NOON . $ 02 OH , GOD , WHERE ARE YOU LEADING US ? $ 06 YOU 'RE HURT . $ 02 NO . $ JUST - TIRED . $ 06 YOUR CHEEK 'S BRUISED AND SWOLLEN - AND YOUR ARM 'S BLEED ING . $ 02 IT 'S NOTHING . $ I - I FELL . $ 06 THERE 'S A CONTUSION . $ I 'LL GET SOME WATER . $ 02 NO , NO - THANK YOU , BUT I MUST BE OUT OF PARIS BEFORE I T 'S LIGHT . $ 06 < ( GETTING A BOWL OF WATER , A SHIRT AND A BANDAGE ) > $ YOU 'D BETTER LET ME . $ YOU CAN'T GO LIKE THAT . $ YOU 'LL HAVE EVERYONE STARING AND POINTING . $ #46 $ 02 I 'M USED TO IT . $ 06 PULL YOUR SLEEVE BACK . $ 02 IT 'S NOTHING , I TELL YOU . $ 06 DO AS I SAY . $ < ( HE BATHES HER CHEEK ) > $ 02 < ( AFTER A SILENCE ) > $ WHY ARE YOU DOING THIS FOR ME ? $ < SILENCE > $ ROBERT ? $ 06 NOT FOR YOU . $ 02 < ( AFTER A PAUSE ) > $ IT WASN'T A FALL . $ 06 YOU DON'T HAVE TO SAY ANYTHING . $ 02 YOU 'RE PETER'S FRIEND . $ HE TRUSTS YOU . $ MASTER ALBERIC CAME TO THE HOUSE . $ 06 YES ? $ 02 ALBERIC OF RHEIMS . $ I 'D NEVER SEEN HIM BEFORE . $ 06 FAT AND SMALL EYES PEEPING . $ < ( HE DABS AT HER WRIST ) > $ 02 THAT 'S RIGHT . $ HE TOLD MY UNCLE HE 'D ALWAYS WANTED TO SEE HIS BOOKS , BUT HE DIDN'T COME FOR THAT - HE CAME TO SPY . $ < SHE WINCES ) > $ 06 SORRY . $ 02 GEOFFREY OF CHARTRES WAS THERE TOO - JUST BACK FROM ROME . $ 06 < ( STARTING TO BANDAGE THE WRIST ) > $ NICE MAN . $ 02 VERY . $ HE SAID SOMETHING ABOUT HAVING MORE CONSEQUENCE IN ROME AS P ETER ABELARD'S FRIEND THAN AS THE BISHOP-ELECT OF CHARTRES , AND MY UNCLE SAID THAT MADE HIM PROUD AS HE 'D ALWAYS THOUG HT OF ME AS A DAUGHTER AND TO KNOW I WAS MARRIED TO SO GREAT A MAN ... $ < ROBERT STOPS BANDAGING AND STARES > $ YES . $ A MONTH AGO . $ OH , I DENIED IT , OF COURSE . $ I SAID I WAS HIS MISTRESS . $ MY UNCLE STRUCK ME . $ HE - HE CLAWED AT ME . $ THEY PULLED HIM AWAY , BUT ALBERIC HAD GOT WHAT HE CAME FOR . $ IT 'LL BE ALL OVER PARIS BY MORNING . $ DO YOU STILL WANT TO HELP ME NOW ? $ < THERE IS A SILENCE . $ ROBERT PICKS UP THE BOWL , SHIRT , ETC. , AND PUTS THEM ON T HE TABLE > $ IT 'S NOT SAFE ANY MORE IN MY UNCLE'S HOUSE . $ NOT SAFE IN PARIS . $ WILL YOU TELL PETER I 'VE GONE TO ARGENTEUIL , TO SISTER GOD RIC , WITH THE LITTLE BOY ? $ 06 I 'LL TELL HIM . $ GO NOW , PLEASE . $ 02 I DON'T KNOW HOW TO THANK YOU ... $ 06 < ( VIOLENTLY ) > $ DON'T ! $ JUST GO ! $ 02 < ( AFTER A PAUSE ) > $ YOU LOVE HIM TOO , DON'T YOU , VERY MUCH ? $ OH , NOT AS I LOVE HIM , BUT ... $ 06 < ( SAVAGELY ) > $ EXACTLY AS YOU LOVE HIM . $ EXACTLY . $ < HELOISE LOOKS AT HIM WITH COMPASSION > $ YES . $ < HELOISE GOES , WATCHED BY THE NUNS AND MONKS > $ #47 $ < THE LIGHTS FADE TO A BLACK-OUT . $ ROBERT EXITS IN THE DARKNESS WITH THE BOWL AND BANDAGES . $ NUNS ARE HEARD SINGING " DEUS IN ADJUTORIUM " > $ < SCENE FIVE > $ < ARGENTEUIL $ A POOL OF LIGHT REVEALS THE SITTING NUNS GROUPED IN A SEMI-C IRCLE ROUND THE ABBESS , AMONG THEM HELOISE , IN A DARK DRES S > $ 12 HOLY SILVESTER - $ 15 INTERCEDE FOR HER SOUL . $ 12 HOLY GREGORY - $ 13 INTERCEDE FOR HER SOUL . $ 12 HOLY MARTIN - $ 16 INTERCEDE FOR HER SOUL . $ 12 HOLY ALEXIS - $ 17 INTERCEDE FOR HER SOUL . $ 12 HOLY MAGDALENE - $ 22 INTERCEDE FOR HER SOUL . $ 12 HOLY FELICITAS - $ 22 INTERCEDE FOR HER SOUL . $ 12 < ( IN HER DEEPEST TONES ) > $ GO FORTH , CHRISTIAN AND HOLY SPIRIT , FROM THIS WORLD . $ GO IN PEACE : IN THE NAME OF ANGELS AND ARCHANGELS : IN THE NAME OF PRINCIPALITIES AND POWERS AND ALL THE STRENGTH OF HE AVEN : IN THE NAME OF CHERUBIM AND SERAPHIM : IN THE NAME OF THE WHOLE HUMAN RACE WHICH IS WRITTEN IN THE BOOK OF LIFE . $ LET THE ANGELS COME TO MEET THEE ON THY WAY AND BRING THEE I NTO THE CITY . $ LORD JESUS CHRIST , RECEIVE THE SOUL OF THY SERVANT GODRIC . $ 22 AMEN . $ < THE ABBESS CROSSES HERSELF > $ 12 FOUR OF YOU WILL GO TO THE CHAPEL AND TAKE THE PLACE OF T HOSE NOW KEEPING WATCH . $ THE REST OF YOU WILL GO TO THE DORTER AND LIE DOWN ON YOUR B EDS , AND LET THERE BE NO READING OR TALKING , FOR YOU HAD L ITTLE ENOUGH SLEEP LAST NIGHT . $ NO ONE IS TO RISE TILL THE BELL RINGS FOR NONES , AND PERHAP S WE SHALL HAVE LESS OF THAT SLOVENLY SINGING IN THE CHOIR , SUCH AS THIS MORNING . $ THE FOUR FOR THE VIGIL UNTIL NONES WILL BE GISELLA , AUDERE , CONSTANCE - HELOISE , GODRIC WAS YOUR FRIEND , LET YOU BE THE FOURTH . $ AVE MARIA PURISSIMA . $ 22 CONCEIVED WITHOUT SIN . $ < THE NUNS AND HELOISE GO OUT $ THE ABBESS GOES TO THE TABLE ON WHICH IS A VESSEL OF COMMUNI ON WINE AND A GOBLET . $ SHE POURS WINE INTO THE GOBLET AND DRINKS $ MARIELLA COMES FLYING IN > $ #48 $ 16 REVEREND MOTHER ! $ REVEREND MOTHER ! $ 12 MARIELLA ! $ < MARIELLA STOPS IN HER TRACKS > $ < ( SCOWLING AND WIPING HER LIPS ) > $ WHEN MAY WE RUN , MARIELLA ? $ 12 TO - ASSIST AT A DEATHBED OR FROM A FIRE , REVEREND MOTHE R . $ 12 IS YET ANOTHER OF OUR COMMUNITY IN EXTREMIS ? $ 16 NO , REVEREND MOTHER . $ 12 ARE WE ON FIRE , CHILD ? $ 16 I - IT 'S NOT - THERE 'S A MAN ... $ < ABELARD STRIDES IN $ MARIELLA KNEELS , FRIGHTENED , CROSSING HERSELF > $ 01 < DESPERATELY ) > $ WHO IS IT ? $ WHO IS IT WHO 'S DIED HERE ? $ IN GOD'S NAME ! $ 12 ONE OF OUR SISTERS . $ GODRIC . $ MAY HER SOUL BE BLESSED . $ 01 GODRIC - GODRIC ... $ < ( AT LENGTH , CONTROLLING HIMSELF ) > $ FORGIVE ME . $ I RODE THROUGH THE VILLAGE . $ THEY SAID THERE 'D BEEN A DEATH UP AT THE CONVENT . $ NO ONE KNEW WHO IT - GODRIC . $ I 'M SORRY . $ SHE WAS HER FRIEND . $ 12 MARIELLA , GO TO THE CHAPEL AND CALL HELOISE . $ YOU WILL TAKE HER PLACE . $ 16 AT ONCE , MOTHER . $ < MARIELLA STARTS TO RUN , REMEMBERS , SLOWS TO A WALK , AND EXITS > $ 12 < ( POURING WINE INTO THE GOBLET ) > $ SIT DOWN A MOMENT AND CALM YOURSELF , MASTER PETER . $ 01 YOU KNOW ME ? $ 12 TAKING THE VEIL DOES NOT NECESSARILY MAKE ONE HALF-WITTED . $ < ( SHE HANDS ABELARD THE GOBLET ) > $ 01 THANK YOU , NO , I ... $ 12 DRINK IT , MAN . $ YOU LOOK LIKE A SEPULCHRE . $ < ABELARD DRINKS OBEDIENTLY $ HELOISE ENTERS > $ < ( TO HELOISE ) > $ REMEMBER . $ THIS IS YOUR HOME FOR AS LONG AS YOU NEED US . $ < THE ABBESS RETURNS THE GOBLET TO THE TABLE AND GOES OUT > $ ABELARD STANDS , DRINKING HELOISE IN > $ < ABELARD STANDS , DRINKING HELOISE IN > $ 01 I THOUGHT IT WAS YOU WHO WAS DEAD . $ 02 MY DARLING ... $ < THERE IS A GREAT DISTANCE BETWEEN THEM > $ #49 $ 01 ALL LAST NIGHT - I WAS HALF ASLEEP IN THE SADDLE - I SEEM ED TO KEEP FINDING YOU AND LOSING YOU . $ I WAS WANDERING ON STRANGE ROADS , STANDING IN STRANGE HOUSE S , WATCHING FOR YOU TO COME TO ME . $ AND WHEN I GOT HERE - I 'D HAVE SEEN THE WHOLE CONVENT DEAD OF THE PLAGUE IF IT MEANT THAT YOU 'D COME THROUGH THAT DOOR ALIVE . $ GOD , IT 'S QUIET . $ LIKE THE STILLNESS BEFORE THE LAST DAY . $ IS IT ALWAYS LIKE THIS ? $ 01 MORE SO TODAY , PERHAPS . $ LAST NIGHT EVERYONE HAD TO GET UP TO SEE GODRIC DIE . $ THEY 'RE DEAD WITH SLEEP . $ 01 IS THERE NOWHERE ELSE WE CAN TALK ? $ 02 ONE OF THE NOVICES IS TO BE RECEIVED TOMORROW . $ HER PEOPLE ARE IN THE GUEST-HOUSE . $ 01 THE GARDEN ? $ 02 IT 'S BEYOND THE GRAVEYARD . $ THE SEXTON IS DIGGING GODRIC'S GRAVE . $ 01 COME HERE - AT LEAST LET ME FEEL YOU NEAR ME . $ 02 I DAREN'T BE NEAR YOU , PETER . $ I - I DAREN'T . $ < DEEPLY PHYSICALLY AWARE , THEY TRY TO KEEP APART > $ 01 I WAS AWAY WHEN YOU NEEDED ME . $ HE STRUCK YOU . $ 02 IT 'S NOT MYSELF I 'M AFRAID FOR . $ IT 'S YOU . $ PETER , DON'T GO BACK TO PARIS . $ 01 MY DEAR GIRL , WHAT POSSIBLE HARM COULD HE DO ME ? $ 01 I DON'T KNOW . $ I THINK HE 'S MAD . $ PETER , DON'T GO BACK . $ 01 YOU KNOW I MUST . $ 02 YES , YOU MUST . $ < ( AFTER A PAUSE ; TO HERSELF ) > $ NOW IT BEGINS . $ " OH , THEY 'RE GREAT ON FATE IN DONEGAL . " $ 01 WHAT ? $ 02 PETER , I 'VE BEEN THINKING . $ I MUST STAY HERE NOW FOR A WHILE . $ I SHALL ASK REVEREND MOTHER IF I CAN WEAR NOVICE'S DRESS . $ NO , PLEASE , MY DARLING , LISTEN . $ WE 'LL LET IT BE KNOWN THAT IN A YEAR OR TWO I SHALL TAKE TH E VEIL . $ 01 HELOISE , ARE YOU UTTERLY ... $ 02 DEAR SWEET PETER , CAN YOU SEE ME AS A NUN ? $ BUT IF WE CAN MAKE PEOPLE BELIEVE IT , THE TALK WILL DIE . $ BECAUSE THE MARRIAGE WOULD BE ANNULLED , WOULDN'T IT , IF I JOINED THE SISTERHOOD ? $ MY DARLING , YOU 'RE LOOKING AT ME AS THOUGH I WERE A GHOST . $ IT 'S ONLY A TALE TO GIVE THE LIE TO MY UNCLE . $ AS IF ANY VOWS ON EARTH COULD KEEP ME FROM YOU ! $ < WITHOUT THINKING , SHE IS IN HIS ARMS > $ 01 < ( HOLDING HER IN A VICE ) > $ SWEAR YOU 'LL NEVER - NOT EVEN A NOVICE - NOT EVEN A LAY SIS TER ... $ 02 YOU 'RE HURTING ! $ 01 SWEAR ! $ 02 I 'VE NO VOCATION , THEY WOULDN'T RECEIVE ME , EVEN IF I ... $ 01 < ( VIOLENTLY ) > $ SWEAR IT ! $ 02 ALL RIGHT , I SWEAR , I SWEAR , I SWEAR ! $ < DESPERATE , RECKLESS , CONSUMED WITH AN INTANGIBLE FEAR , HE CRUSHES HER TO HIM , FEELS FOR HER BREAST > $ #50 $ NO , PETER - NO , NOT HERE - $ < ( CRYING OUT ) > $ OH , GOD - NOT HERE ... $ BUT HER HEAD FALLS BACK , HER BODY BENDS WITH HIS AND HER EY ES GO BLIND $ THE LIGHTS FADE TO BLACK-OUT $ ABELARD AND HELOISE EXIT IN THE DARKNESS > $ < SCENE SIX > $ < A PARIS STREET . $ LATE EVENING . $ SHADOWS EVERYWHERE $ GUIBERT , ALAIN , GERARD , PHILIPPE AND JEHAN ENTER SINGING OR HUMMING " WHEN SUMMER ON IS STEALING " . $ FULBERT ENTERS AND WATCHES THE ENSUING SCENE , LEANING HEAVI LY ON HIS STICK . $ ALYS AND A YOUNG WHORE ENTER AND STROLL INVITINGLY . $ GUIBERT , EAGER , MOVES TOWARDS ALYS , BUT ALAIN AND GERARD MOVE ACROSS HIS PATH AND TAKE ALYS TO THE TOWER , INTO WHICH SHE CLIMBS . $ GUIBERT STANDS DEJECTED . $ ANOTHER STUDENT ENTERS , EXCHANGES WORDS WITH ALAIN AND GERA RD , AND FOLLOWS ALYS UP THE STAIRS . $ ALAIN AND GERARD EXIT . $ TWO HEAVILY CLOAKED AND HOODED FIGURES ENTER . $ MEANWHILE THE YOUNG WHORE , SEIZING HER CHANCE , MOVES HOPEF ULLY TOWARDS GUIBERT , BUT HE REJECTS HER AND TURNS AWAY , F EELING HIS EMPTY PURSE . $ THE YOUNG WHORE , THE STUDENTS , JEHAN AND PHILIPPE SIT OR R ECLINE AT THE BACK OF THE STAGE . $ FULBERT MOVES SLOWLY TO GUIBERT > $ 10 THAT SONG , GUIBERT - ABOUT THE SUMMER COMING IN AND A YO UNG WENCH - YOU USED TO SING IT WHEN YOU WERE HERE . $ IF I REMEMBER RIGHTLY , IT WAS ONE OF MASTER PETER'S . $ < ( HE OFFERS HIM A COIN ) > $ 07 < ( TAKING THE MONEY ) > $ I - I BELIEVE SO , YOUR REVERENCE . $ 10 THEY TELL ME IT 'S STILL VERY POPULAR . $ 07 WELL - IT 'S A LOVE SONG . $ WE ALL LIKE SONGS ABOUT - ABOUT LOVE . $ 10 LOVE . $ YES . $ < ( HE MUTTERS ) > $ " IF SHE WOULD ONCE HAVE PITY AND TAKE ME ... " $ HE TOOK HER FROM ME , YOU KNOW . $ WHY DID HE TAKE HER FROM ME ? $ HE 'S TIRED OF HER NOW . $ HE 'S FLUNG HER ON THE ASH-HEAP AT ARGENTEUIL . $ IS HE GOING TO MAKE A NUN OF HER ? $ DOES HE THINK IF HE MAKES A NUN OF HER HE CAN BREAK THE MARR IAGE AND BE PRIESTED ? $ < FULBERT LOOKS UP AT THE TWO HOODED FIGURES , WHO MOVE QUIE TLY DOWN TOWARDS GUIBERT > $ 07 < ( WITH A LITTLE LAUGH ) > $ I - I NEVER HEARD THE MASTER HAD ANY NOTION OF ORDERS . $ < ( HE LAUGH PETERS OUT AS ONE OF THE SILENT FIGURES NEARS H IM ) > $ 10 WHY ELSE SHOULD HE SEND HER TO ARGENTEUIL ? $ SHE 'S GOING ABOUT IN HER GRAVE-CLOTHES , ALL BUT THE VEIL , AND THEY 'LL PUT THAT ON HER SHORTLY , AND THEN HE 'LL BE S ATISFIED . $ HE 'LL TAKE HIS VOWS OF CHASTITY , AND BE ON HIS WAY UP THE ECCLESIASTICAL LADDER . $ ARE YOU FOND OF YOUR MASTER , GUIBERT ? $ 07 Y - YES , YOUR REVERENCE . $ #51 $ 10 SO AM I . $ THAT 'S WHY I MEAN TO SAVE HIS SOUL . $ HELP ME . $ BETWEEN US , GUIBERT , WE 'LL WIN HIM BACK FOR GOD AND BEAT THE DEVIL , AND HOLY MOTHER CHURCH WILL BE MOCKED NO MORE , NO , NOR DRAGGED , SCABROUS , INTO THE GUTTER . $ 07 I MUST BE GOING NOW , YOUR REVERENCE . $ I 'LL GIVE YOU BACK YOUR MONEY , IF YOU DON'T MIND . $ < THE SILENT FIGURE MOVES CLOSER > $ 10 < ( PRODUCING A LONG PURSE AND WEIGHING IT IN HIS HAND ) > $ HOW MUCH DO YOU THINK THERE IS THERE ? $ 07 < ( HOARSELY ) > $ FIFTY ? $ < ( HE PEERS AT THE PURSE ) > $ 10 A HUNDRED . $ A HUNDRED GOLD BESANTS . $ 07 I 'LL BE GOING , SIR . $ < THE FIGURE SENDS GUIBERT SPRAWLING AT FULBERT'S FEET > $ 10 TELL ME , IS THE GATE AT THE FOOT OF THE STAIRS LOCKED AT NIGHT ? $ 07 I MUST GO , SIR , REALLY ... $ 10 SUPPOSE YOU CAME DOWN THE STAIRS AND OPENED THE GATE AND FOUND THIS ON THE STEPS , WHAT WOULD YOU DO ? $ 07 I - DON'T KNOW . $ 10 YES , YOU DO . $ YOU 'D PICK IT UP AND BE OFF INTO THE NIGHT AND ENJOY YOURSE LF . $ OF COURSE , YOU 'D LEAVE THE GATE OPEN , WOULDN'T YOU ? $ 07 NO . $ 10 YES , YOU WOULD . $ SO THAT YOU COULD - GET BACK IN . $ 07 < ( KNEELING UP TO LOOK FEARFULLY INTO FULBERT'S FACE ) > $ MASTER FULBERT , YOU - YOU WOULDN'T MURDER HIM ? $ 10 < ( CROSSING HIMSELF ) > $ NO , I HOPE HE 'LL LIVE LONG AND CHASTE , THE WAY I WOULD HA VE HIM . $ OF COURSE , HE WON'T BE A PRIEST . $ IT TAKES A WHOLE MAN TO BE A PRIEST . $ BUT HE 'LL LIVE THE HOLIER FOR IT . $ DIDN'T OUR LORD SAY SOME HAVE MADE THEMSELVES EUNUCHS FOR TH E KINGDOM OF HEAVEN'S SAKE ? $ I DOUBT MASTER PETER WILL EVER DO THAT . $ BUT I KNOW THOSE WHO WILL DO IT FOR HIM . $ < ( HE LOOKS UP AT THE STILL SILENT FIGURES ) > $ < THE FIGURES TURN AWAY AND PULL THEIR CLOAKS TIGHTER ABOUT THEM > $ HE 'S A PROUD MAN , PETER ABELARD . $ PROUD . $ < THE FIGURES MOVE SLOWLY UPSTAGE > $ I 'LL BREAK HIS PRIDE AND DO HIS SOUL A SERVICE . $ < THE FIGURES LOOK BACK AT FULBERT > $ SING , GUIBERT , SING . $ < ( HE PRODUCES ANOTHER GOLD COIN ) > $ < HYPNOTIZED , GUIBERT SINGS . $ THE FIGURES START TO GO > $ 07 " DOWN FROM THE BRANCHES FALL THE LEAVES ... " $ < THE LIGHTS FADE TO A BLACK-OUT . $ FULBERT EXITS IN THE DARKNESS > $ #52 $ < SCENE SEVEN > $ < OUTSIDE ABELARD'S HOUSE . $ DURING THE NIGHT $ SILENCE , DARKNESS . $ A SPOTLIGHT COMES UP BETWEEN THE TOWERS . $ TWO ANSWERING OWL HOOTS ARE HEARD . $ A PURSE OF MONEY IS THROWN FROM A TOWER INTO THE CENTRE OF T HE LIGHT . $ GUIBERT APPEARS OUT OF THE DARKNESS , REACHES TO PICK UP THE PURSE , LOOKS ROUND TO SEE HE IS NOT OBSERVED , THEN EXITS . $ TWO FIGURES , CLOAKED AND HOODED , PASS THROUGH THE LIGHT AN D GO INTO THE TOWER . $ ANOTHER CLOAKED FIGURE ENTERS , PASSES THROUGH THE LIGHT , A ND GOES INTO THE TOWER . $ THE SPOTLIGHT FADES AND GOES OUT . $ THERE IS THE SOUND OF WOLVES HOWLING > $ < SCENE EIGHT > $ < OUTSIDE BELLE ALYS' . $ LATER THAT NIGHT $ THE LIGHTING COMES UP TO SHOW BELLE ALYS IN HER TURRET , KIS SING AND LAUGHING WITH ALAIN . $ GERARD COMES UPSTAIRS AND JOINS IN THE LOVE-MAKING . $ GUIBERT ENTERS AND KNOCKS AT THE FOOT OF THE STAIRS . $ THOSE IN THE TOWER DISREGARD THE NOISE . $ GUIBERT HAMMERS TWICE MORE , AND ALYS , DISGRUNTLED , FLINGS OPEN THE WINDOW . > $ 11 WHO 'S THERE , FOR GOD'S SAKE ? $ 07 IT 'S ME . $ I 'VE BROUGHT THE MONEY . $ LET ME IN . $ 11 < ( SCORNFULLY ) > $ OH , NO ! $ < ( SHE RETURNS TO HER CLIENTS ) > $ 07 I HAVE , I TELL YOU ! $ < ( HE KNOCKS ) > $ LET ME IN ! $ LET ME IN ! $ < ALAIN LEANS OUT > $ 03 GUIBERT , GO HOME LIKE A GOOD LAD . $ 04 < ( LEANING OUT ) > $ COME BACK TOMORROW . $ 07 TOMORROW ! $ I COULD BE DEAD TOMORROW ! $ < ALAIN CLOSES THE WINDOW AND THEY BOTH GO BACK TO ALYS > $ WORSE , IF THEY - WORSE ! $ LET ME IN ! $ LET ME IN ! $ < ( HE POUNDS DESPERATELY ) > $ 11 GET RID OF HIM , ALAIN . $ 03 < ( LEANING OUT ) > $ LOOK , GUIBERT , HERE 'S A WHOLE SILVER MARK FOR YOU , IF YO U GO HOME AND GO TO BED . $ < ( HE TOSSES DOWN A COIN ) > $ 07 < ( IGNORING IT ; CONTEMPTUOUSLY ) > $ SILVER ? $ I 'VE GOT GOLD . $ < ALAIN LEANS FURTHER OUT > $ GOLD ! $ GOLD ! $ GOLD ! $ < ( HE OPENS THE PURSE , TAKES A FISTFUL OF COINS AND THROWS THEM AT THE WINDOW . $ HE THROWS ANOTHER FISTFUL , THEN ANOTHER ) > $ 11 MOTHER OF GOD , HE 'S OUT OF HIS MIND . $ I 'D BETTER GO DOWN . $ 03 YOU 'LL GO TO NO MADMAN . $ 04 HE 'S PROBABLY STOLEN IT . $ < ( HE SHUTS THE WINDOW ) > $ 07 ALYS ! $ ALYS ! $ #53 $ ALYS ! $ < ( HE SINKS SOBBING ON HIS KNEES , THE MONEY ALL ROUND HIM ) > $ < ROBERT APPEARS OUT OF THE DARKNESS > $ 06 WHO 'S THAT ? $ GUIBERT ? $ < ( HE STARES AT THE SCATTERED COINS ) > $ DON'T CRY , MAN . $ YOU HAVEN'T LOST IT . $ I 'LL HELP YOU PICK IT UP . $ < ( HE STARS TO DO SO ) > $ GOLD . $ WHERE DID YOU GET THIS ? $ 07 GOLD . $ HE SAID GOLD . $ THE CANON . $ 06 CANON ? $ WHICH CANON ? $ < ( SUDDENLY ) > $ WHY AREN'T YOU AT MASTER ABELARD'S - DID CANON FULBERT GIVE YOU THIS MONEY ? $ WHAT FOR ? $ < ( HE SHAKES HIM LIKE A RAT ) > $ WHAT FOR ? ? $ < METALLIC SPACED CLINKS ARE HEARD , AS THOUGH KNIVES ARE BE ING SHARPENED > $ 07 I DIDN'T DO IT . $ I ONLY OPENED THE DOOR . $ JUST THE DOOR , THAT 'S ALL . $ I DIDN'T DO IT . $ < GUIBERT BREAKS AWAY FROM ROBERT AND RUNS OFF > $ 06 < ( SUDDENLY ) > $ OH DEAR GOD , NO . $ < ( CRESCENDO ) > $ OH , SWEET GOD IN HEAVEN , NO ... $ < ROBERT HURLS HIMSELF INTO THE DARKNESS > $ < SCENE NINE > $ < JUST BEFORE DAWN $ THE FOLLOWING HAPPENS VERY QUICKLY $ JEHAN AND THE STUDENT RISE AND EXIT . $ ALAIN RUNS DOWN THE STAIRS , CALLING " GERARD ! PHILIPPE ! " AND EXITS . $ PHILIPPE AND GERARD EXIT . $ THE YOUNG WHORE RISES AND GOES UPSTAGE $ FOUR NUNS ENTER CARRYING A LITTER BED WITH THE BEDCLOTHES TU RNED BACK , PUT IT DOWNSTAGE , THEN STAND BACK ON EITHER SID E . $ THEY MAKE A CONTINUOUS , LOW-PITCHED DISCORDANT CRY $ THE FIVE STUDENTS ENTER CARRYING ABELARD , NAKED EXCEPT FOR A LENGTH OF LINEN CLOTH . $ THEY LAY HIM IN THE BED . $ ONE OF THE NUNS MOVES IN TO REMOVE THE CLOTH AND COVER ABELA RD WITH THE BEDCLOTHES , THEN ALL THE NUNS EXIT $ THE STUDENTS , WHEN THEY HAVE LAID ABELARD DOWN , TURN UPSTA GE AND FORM A LINE IMMEDIATELY BEHIND THE BED . $ THEY SQUAT ON THEIR HAUNCHES , MAKING A CONTINUOUS , DISCORD ANT HOWLING NOISE , WHICH RISES IN PITCH AND CRESCENDO TO TH E END OF THE SCENE $ THE LIGHTING FADES DOWN , EXCEPT FOR A LIGHT ON ABELARD , WR ITHING IN THE BED , AND A SILVERY NIGHT EFFECT ON THE SQUATT ING FIGURES $ ROBERT ENTERS AND WATCHES THE ENSUING SCENE IN THE SHADOWS . $ THE WHORES WATCH FROM UPSTAGE , AND THE TWO HEAVILY CLOAKED FIGURES FROM UP C . $ GUIBERT ENTERS OUT OF THE SHADOWS , MUTTERING INCOHERENTLY " IT WASN'T ME - I DIDN'T DO IT . " $ #54 $ HE COMES TOWARDS THE STUDENTS AS IF DRAWN , HYPNOTIZED , BY THE SOUND . $ AS HE REACHES THE WAITING GROUP , A STUDENT FROM EACH END OF THE LINE RISES AND MOVES TO EITHER SIDE OF HIM . $ HE MOVES A STEP BACK IN ALARM , BUT THE TWO STUDENTS PUT AN ARM OUT TO CUT OFF HIS ESCAPE . $ A STUDENT FROM EACH END OF THE LINE RISES AND MOVES UP TOWAR DS GUIBERT . $ THE MIDDLE STUDENT , REMAINING ON HIS HAUNCHES , LIFTS AND O PENS HIS ARMS . $ GUIBERT STEPS DOWN TOWARDS HIM . $ THE FIRST TWO STUDENTS SEIZE GUIBERT'S ARMS , AND THE MIDDLE STUDENT HIS FEET . $ THE OTHER TWO STUDENTS FACE UPSTAGE ON EITHER SIDE OF GUIBER T . $ ALL LIFT GUIBERT IN THE AIR , THE MIDDLE STUDENT KNEELING UP AND OPENING GUIBERT'S LEGS WIDE . $ A SPOTLIGHT COMES UP ON GUIBERT . $ THE TWO STUDENTS FACING UPSTAGE DRAW KNIVES , HOLD THEM OUT ON EITHER SIDE ON STRAIGHT ARMS . $ GUIBERT SCREAMS . $ THE STUDENTS SLOWLY BRING THE KNIVES DOWN IN AN ARCHING MOVE MENT OVER GUIBERT'S CROTCH . $ ON HIS BED , ABELARD WRITHES IN AGONY . $ THE LIGHTS FADE TO A BLACK-OUT . $ THE CLINKING SOUNDS STOP . $ A BABY CRIES . $ IN THE DARKNESS GUIBERT IS LOWERED TO THE GROUND AND EXITS . $ < SCENE 10 > $ < ABELARD'S ROOM $ ROBERT STANDS IN ONE OF THE TOWERS , ROLLING A BANDAGE . $ GILLES APPEARS IN THE DOORWAY , STARING AT ABELARD , WHO IS PROPPED UP IN BED . $ IN THE DISTANCE STUDENTS ARE HEARD SINGING " THE ABBOT OF AN GERS " . $ THE NUNS AND STUDENTS REMAIN UPSTAGE TO WATCH THE SCENE . > $ 08 HOW IS HE ? $ 06 ASLEEP . $ 01 < ( IN A LIGHT BRITTLE VOICE ) > $ I SUPPOSE THEY 'VE TOLD YOU THAT I 'M GOING TO LIVE ? $ < ROBERT TAKES A BEAKER OF WATER FROM THE TOWER SHELF , GIVE S ABELARD A SIP , PROPS HIM UP IN BED , THEN GOES AND JOINS THE LINE OF STUDENTS > $ WHAT DAY IS IT ? $ 08 THE FIRST OF OCTOBER . $ 01 THREE DAYS . $ " AND ON THE THIRD DAY ... " $ HAVE THEY BEGUN TO JOKE YET ? $ 08 NOT YET . $ 01 I DOUBT IF I 'D HAVE HAD THE DECENCY TO KEEP OFF IT SO LO NG , IF IT HAD BEEN FRIEND ALBERIC OF RHEIMS , FOR INSTANCE , INSTEAD OF ME . $ BY THE WAY , THIS MUST BE A HIGH DAY FOR ALBERIC . $ THE FIRST OF OCTOBER . $ THE FEAST OF ST REMY , ISN'T IT ? $ DO YOU KNOW HOW THEY KEEP THE FEAST AT RHEIMS , GILLES ? $ YOU GO TO A CHURCH WITH A RAW HERRING DANGLING BEHIND YOU ON A STRING , AND THE POINT IS TO STEP ON THE HERRING OF THE M AN IN FRONT , AND KEEP YOUR HERRING FROM THE ADVANCES OF THE MAN BEHIND . $ I 'D GIVE A GOOD DEAL TO SEE ALBERIC'S ARSE TAKING PART IN T HAT PROCESSION . $ YOU 'RE HARD TO AMUSE TODAY , GILLES . $ #55 $ 08 < ( DROPPING HIS HAND ON THE HAND THAT LIES ON THE COVERL ET ) > $ WOULD GOD I HAD DIED FOR THEE , O ABSALOM , MY SON , MY SON . $ < THERE IS A SILENCE > $ 01 I WAS LOST FOR YOU , GILLES . $ 08 I WAS SICK IN BED WHEN I HEARD . $ AND THEN - I WAS DRUNK . $ 01 YES , THEY TOLD ME . $ OH , THERE 'S NOTHING THEY HAVEN'T TOLD ME - GUIBERT - AND T HE OLD MAN , TOO , DRAGGED FROM SANCTUARY . $ FLESH FOR FLESH , OBSCENITY FOR OBSCENITY . $ I 'M GLAD YOU CAME BEFORE THEY MOVE ME . $ 08 WHERE ? $ 01 TO ST DENIS . $ 08 IF YOU WANT MONKS' NURSING , YOU 'D BE QUIETER AT ST GERM AIN . $ 01 YOU SEE , I 'M TAKING THE VOWS AT ST DENIS . $ YES , THEY 'RE MAKING AN EXCEPTION IN MY CASE ; IT WILL ONLY BE A NOMINAL NOVITIATE . $ HANDSOME OF THEM , I THOUGHT . $ 08 < ( ON HIS FEET , CHOKED ) > $ IF I HAD THE POWER , PETER , I 'D PUT YOU UNDER LOCK AND KEY , TILL GOD WAS PLEASED TO RESTORE YOU TO YOUR SENSES . $ 01 HAVING ONLY JUST REMOVED THEM , I DOUBT HE 'LL DO THAT IN A HURRY . $ DO SIT DOWN . $ I CAN ONLY SEE YOUR BELLY AND I PREFER YOUR FACE . $ < GILLES SITS AGAIN , SEETHING > $ OF COURSE I DON'T WANT TO BE A STUPID , SUBLIMATING LITTLE M ONK . $ I 'VE NO VOCATION . $ I 'D RATHER CONTINUE TO TEACH AS I 'VE ALWAYS DONE . $ BUT THAT 'S OVER . $ 08 YOU SAY THIS BECAUSE YOU 'RE SICK . $ WHEN YOUR STRENGTH COMES BACK - WHEN YOU 'RE YOUR OWN MAN AG AIN . $ 01 I 'M NOBODY'S " MAN " , AS YOU SO DELICATELY PUT IT , OR EVER WILL BE . $ 08 YOUR BODY 'S MUTILATED , OR YOUR MIND . $ 01 WE 'LL SEE . $ 08 GOOD GOD , MAN ... $ 01 THAT WORD AGAIN . $ 08 I 'M SORRY . $ A HABIT . $ 01 BREAK IT . $ GO HOME AND READ DEUTERONOMY AND LEVITICUS ABOUT THE KIND OF THING I AM NOW , AND THEN ASK YOURSELF HOW I COULD GO BACK TO RUN THE SCHOOLS . $ I 'D STAMMER AT THE FIRST SNIGGER . $ 08 THERE 'D BE PLENTY TO CHOKE IT DOWN THE THROAT THAT UTTER ED IT . $ 01 FISTS ARE NO ANSWER TO A JIBE . $ 08 I DIDN'T KNOW YOU WERE A COWARD . $ 01 NO MORE DID I . $ BUT I DO NOW . $ IT 'S SUPPOSED , I BELIEVE , TO BE THE INEVITABLE CONSEQUENC E . $ NO , I 'VE LAUGHED AT TOO MANY PEOPLE MYSELF TO STAND BEING LAUGHED AT NOW . $ I DON'T SAY I HAVEN'T BEEN JIBED AT - BUT SO FAR I HAD THE S HARPER TONGUE OF THE TWO . $ 08 SUPPOSE YOU DON'T MAKE UP YOUR MIND NOW - THAT YOU GO FOR A WHILE TO LE PALAIS ... $ 01 < ( WITH A CRY ) > $ FOR GOD'S SAKE ! $ < ( AFTER A MOMENT HE CONTROLS HIMSELF ) > $ NO , IT HAS TO BE . $ I THINK I 'VE ALWAYS KNOWN IT . $ I KNEW IT , RIDING DOWN TO BRITTANY WITH - WITH HER . $ AND BEFORE , WHEN I WENT TO FULBERT AND SAID I 'D MARRY HER . $ AND BEFORE THAT , LONG BEFORE . $ REMEMBER WHEN I WENT TO LAON AND READ THEOLOGY ? $ IT WAS A KIND OF BARGAIN . $ I THOUGHT IF I WENT ONE MILE I - I WOULDN'T BE ASKED TO GO T WAIN . $ #56 $ LIKE SAUL ON THE ROAD TO DAMASCUS . $ WELL , I 'VE BEEN KICKING LONG ENOUGH AGAINST THE PRICKS , L ONG ENOUGH TO BE LAMED FOR LIFE , ANYHOW . $ EXCEPT THAT SAUL SAW A GREAT LIGHT BEFORE HE WENT BLIND . $ I HAVEN'T SEEN - MORE THAN THE OCCASIONAL FLICKER . $ PERHAPS IN TIME ... I MUST SAY THEY 'RE MAKING ME VERY WELCO ME AT ST DENIS . $ I 'VE NEVER HAD SO MANY CIVIL THINGS SAID TO ME IN MY LIFE . $ 08 < ( BITTERLY ) > $ THEY KNOW THEY 'LL BE THE TALK OF CHRISTENDOM . $ WHAT 'S THE TOMB OF THE KINGS TO PUTTING THEIR COWL ON PETER ABELARD ? $ 01 AND THEY 'RE TAKING ME WITH NO PATRIMONY . $ I TOLD ABBOT ADAM I MUST MAKE WHATEVER PROVISION I HAD FOR - - FOR MY WIFE AND SON . $ 08 < ( AFTER A PAUSE ) > $ PETER , WHAT 'S TO BECOME OF HELOISE ? $ 01 SHE 'LL TAKE THE VEIL AT ARGENTEUIL . $ 08 < ( ON HIS FEET AGAIN ) > $ WHAT ? $ 01 THAT IS , IF THEY 'LL HAVE HER . $ SHE 'LL NEED TO CONVINCE YOUR COUSIN , THE ABBESS , SHE HAS A VOCATION . $ SHE STILL HAS ALL HER FACULTIES . $ THERE SHOULD BE NO PROBLEM . $ 08 BUT SHE HAS NO VOCATION ] $ 01 NEITHER HAVE I . $ 08 THAT 'S YOUR MADNESS . $ BURY YOURSELF ALIVE IF YOU MUST - DON'T BURY HER TOO ! $ 01 SHE 'S WILLING . $ 08 OF COURSE SHE 'S WILLING ! $ SHE 'D GO THROUGH HELL IF YOU ASKED HER . $ BUT WHAT RIGHT HAVE YOU TO ASK ? $ 01 < ( DEFIANTLY ) > $ WHAT ELSE CAN SHE DO ? $ WHAT KIND OF WORLD IS IT FOR A WOMAN WITHOUT KIN OF HER OWN AND A HUSBAND , IF YOU CAN CALL HIM THAT , IN THE CLOISTER ? $ 08 WHAT 'S TO STOP HER GOING TO YOUR SISTER , WITH THE BOY ? $ 01 BECAUSE , IF YOU MUST HAVE THE TRUTH , I COULDN'T STAND I T ! $ BECAUSE I COULDN'T ENDURE EVEN TO SEE HER KISS MY BROTHER-IN -LAW . $ BECAUSE I 'M JEALOUS OF EVERY MAN THAT EVEN LOOKS AT HER ! $ JEALOUS ! $ CHRIST , THERE 'S ALWAYS BEEN JEALOUSY . $ AND THAT - THAT WAS WHEN I WAS A MAN MYSELF . $ < < HE TURNS AWAY , BROKEN , AND EXITS . $ THE STUDENTS CARRY ABELARD OUT . $ THE LIGHT FADES > $ NOW ... $ < ( HE IS CONVULSED WITH EMOTION , THE SOBS TEARING OUT OF H IM ) > $ 08 FORGIVE ME . $ < ROBERT SLIPS IN > $ 06 MASTER , IT 'S ABBOT ADAM OF ST DENIS . $ < ABELARD NODS $ ROBERT GOES > $ 01 < ( CONTROLLED BUT EXHAUSTED ) > $ GOD BLESS YOU , GILLES . $ BUT I MUST GO MY OWN WAY . $ < GILLES RISES AND MOVES AWAY . $ THE LIGHTS FADE TO A SPOT ON HIM > $ 08 < ( AFTER A MOMENT ; STIRRED TO HIS SOUL ) > $ ONE GOES THROUGH LIFE , CHEWING THE SWEET AND SPITTING OUT T HE BITTER - AND THEN - AT AN AGE WHEN ONE MIGHT REASONABLY T HINK ALL HEAT OF THE BLOOD WERE PASSED - TO HAVE THE HEART T ORN OUT OF YOU FOR TWO CREATURES NEARLY HALF A CENTURY AWAY ... $ < HE TURNS AWAY , BROKEN , AND EXITS . $ THE STUDENTS CARRY ABELARD OUT . $ THE LIGHT FADES > $ #57 $ < SCENE ELEVEN > $ < THE ABBESS'S ROOM AT ARGENTEUIL $ THERE IS THE VOICE OF A NUN SINGING THE DIES IRAE " . $ THE ABBESS IS SEATED , WITH HELOISE STANDING NEAR HER . $ THE NUNS ARE VISIBLE THROUGH THE GRILL : THEY ALL HAVE BARE FEET > $ 12 IT CAME AS SOMETHING OF A SURPRISE TO ME TO HEAR THAT YOU WISH TO ENTER THE RELIGIOUS LIFE . $ < THE ABBESS WAITS . $ HELOISE SAYS NOTHING . > $ WHEN I GRANTED YOUR REQUEST TO WEAR NOVICE'S DRESS , I UNDER STOOD IT WAS SIMPLY A MATTER OF CONVENIENCE . $ < HELOISE SAYS NOTHING > $ YOU UNDERSTAND THAT WE MUST BE SATISFIED YOUR VOCATION IS GE NUINE ? $ THAT THERE ARE CERTAIN QUESTIONS I 'M BOUND TO ASK YOU ? $ 01 YES , REVEREND MOTHER . $ 12 VERY WELL . $ < ( SHE INDICATES A CHAIR BESIDE HER ) > $ < HELOISE SITS > $ THIS IS YOUR OWN UNPROMPTED DESIRE ? $ 02 YES , MOTHER . $ 12 YOU ARE AWARE OF ITS MEANING ? $ YOU 'VE CONSIDERED CAREFULLY ? $ 02 YES , MOTHER . $ 12 WHEN WAS YOUR VOCATION REVEALED TO YOU ? $ < HELOISE HESITATES > $ WAS IT RECENTLY ? $ 02 YES . $ 12 SUDDENLY ? $ 02 YES . $ 12 WHAT CAUSED IT ? $ WHY DO YOU THINK GOD HAS CHOSEN YOU TO BE HIS HANDMAIDEN ? $ 02 < ( AFTER A MOMENT ) > $ NO ONE CAN EXPLAIN GOD'S GRACE , REVEREND MOTHER . $ BUT CAN WHOEVER RECEIVES IT DOUBT THAT HE OR SHE HAS BEEN LE D BY THE HAND ? $ < THERE IS A PAUSE > $ 12 YOU ARE MARRIED . $ YOU HAVE A SON OF NINE MONTHS . $ YOU REALIZE , IF YOU ARE RECEIVED , THE CHILD CAN NO LONGER REMAIN HERE WITH YOU ? $ 02 YES , MOTHER . $ 12 WHAT WILL BECOME OF HIM ? $ #58 $ 02 HE WILL BE ADOPTED BY MY HUSB - BY MY SISTER-IN-LAW . $ 12 YOU WILL MISS YOUR SON ? $ 02 YES - YES , I SHALL MISS HIM . $ 12 AND YOUR HUSBAND ? $ < HELOISE CANNOT SPEAK > $ < ( DELIBERATELY ) > $ AND YOUR BELOVED HUSBAND ? $ 02 AND MY BELOVED HUSBAND . $ 12 AND YET THERE 'S NO DOUBT IN YOUR MIND THAT YOUR RENUNCIA TION OF YOUR SON , YOUR HUSBAND , YOUR MARRIED LIFE AND ALL THAT GOES WITH IT , IS A MANIFESTATION OF GOD'S GRACE ? $ 02 WHAT ELSE COULD IT BE ? $ 12 A TRICK OF THE DEVIL ? $ 02 SURELY THE DEVIL WOULD NOT BRING ME TO THIS DECISION ? $ 12 WHY NOT ? $ 02 BECAUSE - BECAUSE IT WOULD BE TO HIS PURPOSE TO LEAVE ME IN THE WORLD , WHERE I MIGHT SUCCUMB TO TEMPTATION . $ 12 < ( AFTER A PAUSE ) > $ YOU CANNOT TELL ME WHY GOD CHOSE YOU . $ CAN YOU TELL ME WHEN ALL DOUBT WAS REMOVED FROM YOUR MIND ? $ 02 < ( CAREFULLY ) > $ I WAS ALWAYS CONSCIOUS OF SIN - BUT SIN WAS SO DELIGHTFUL IN THE BEGINNING THAT I COULD NOT WITHHOLD MYSELF . $ BUT AS I CONTINUED TO SIN I BECAME MORE AND MORE CONSCIOUS T HAT - THAT ... $ 12 THAT YOU WERE LOSING YOUR SOUL ? $ THAT THE DEVIL'S HAND WAS EXTENDED TO GRIP YOU ? $ 02 I DON'T KNOW THAT I THOUGHT ABOUT THE DEVIL . $ 12 BUT WE ARE CONSCIOUS OF SIN BECAUSE WE BELIEVE IN HELL . $ 02 SHOULD WE NOT STILL BE CONSCIOUS OF IT IF - IF HELL DIDN' T EXIST ? $ 12 < ( ASTOUNDED ) > $ DIDN'T EXIST ? $ 02 I MEAN , WOULDN'T IT STILL BE POSSIBLE TO - TO ATTAIN RED EMPTION ? $ TO ATONE ? $ 12 WE ATONE BY CONFESSING OUR SINS TO A PRIEST AND PERFORMIN G THE PENANCE IMPOSED UPON US . $ 02 FOR SOME THIS MAY NOT BE ENOUGH . $ 12 WHY MUST YOU GO FURTHER ? $ 02 MY - MY CONSCIENCE TELLS ME I MUST . $ 12 WHAT IF I WERE TO TELL YOU THAT I BELIEVE YOUR CONSCIENCE TO BE MISTAKEN ? $ 02 I SHOULD REPLY THAT IT IS YOU , REVEREND MOTHER , WHO IS MISTAKEN . $ 12 < ( AFTER A PAUSE , INTIMATELY ) > $ HELOISE , YOU LOVED A MAN . $ YOU HAVE A CHILD BY HIM . $ THESE TIES ARE STRONG . $ THEY COME IN THE NIGHT AND CALL LIKE SIRENS . $ LONG AFTER ONE THINKS THEM FORGOTTEN , THEY RETURN IN DREAMS TO STIR THE FLESH AND DISTRACT THE SPIRIT . $ MEMORY IS ALL-INSINUATING , ALL-PERVASIVE . $ HOW WILL YOU CONQUER MEMORY , CHILD ? $ 02 I - I WILL PRAY FOR STRENGTH . $ 12 THEN YOU FEAR ITS POWER ? $ 02 YES - NO - I - I WAS ALWAYS UNHAPPY ABOUT MY MARRIAGE . $ AS YOU KNOW , MY SON WAS BORN OUT OF WEDLOCK . $ IT PREYED ON MY MIND . $ 12 SURELY YOUR MARRIAGE SOOTHED YOUR CONSCIENCE ? $ #59 $ 02 NO . $ 12 WHY NOT ? $ 02 BECAUSE - BECAUSE I WISHED - I LONGED ONLY TO BE A BRIDE OF CHRIST . $ 12 I SEE . $ < ( WITH GROWING TENACITY ) > $ AND THIS WISH - THIS LONGING - IT TRANSCENDS ALL THINGS ? $ 02 YES . $ 12 ALL EARTHLY LOVE ? $ 02 YES . $ 12 ALL CARNAL DESIRE ? $ 02 YES . $ 12 IT IS YOUR REASON FOR ASKING TO BE RECEIVED ? $ YOUR ONLY REASON ? $ 02 MOTHER , ARE ALL THESE QUESTIONS ... ? $ 12 YOUR REASON , CHILD ? $ YOUR ONLY REASON ? $ 02 SURELY IT 'S ENOUGH THAT I ... $ 12 YOUR ONLY REASON ? $ 02 MY ONLY REASON . $ 12 YOU LONG FOR GOD ? $ WITH ALL YOUR HEART AND WITH ALL YOUR MIND AND WITH ALL YOUR SOUL ? $ 02 YES . $ YES . $ 12 YOU RECOGNIZE THAT , ONCE TAKEN , YOUR DECISION IS IRREVO CABLE ? $ 02 YES . $ 12 THAT YOU WILL NO LONGER BE ABLE TO COME AND GO AS YOU PLE ASE ? $ 02 YES . $ 12 THAT THIS TIME , ONCE THE CONVENT GATES CLOSE BEHIND YOU , THEY CLOSE FOREVER ? $ 02 YES . $ 12 THAT YOU WILL BE LOST TO THE WORLD ? $ 02 YES . $ 12 YOU UNDERSTAND THESE THINGS ? $ 02 I UNDERSTAND . $ 12 AND TO BE SO LOST IS YOUR RESOLVE ? $ 02 YES ! $ 12 YOUR ASPIRATION ? $ 02 YES ! $ 12 YOUR DELIGHT , YOUR JOY ? $ 02 YES ! $ YES ! $ YES ! $ YES ! $ < ( SHE BREAKS DOWN , SOBBING SILENTLY BUT UNCONTROLLABLY ) > $ 12 < ( COMPASSIONATELY ) > $ THE RELIGIOUS LIFE IS NOT FOR ALL OF US . $ HARSH , UNSPARING , PITILESS EVEN , WITHOUT A VOCATION IT CA N BE A TERRIBLE THING . $ WE MUST BE GRATEFUL THAT BY GOD'S MERCY WE HAVE FOUND THE TR UTH IN TIME . $ 02 I 'VE ALWAYS KNOWN THE TRUTH . $ I 'VE ALWAYS KNOWN I HAD NO VOCATION . $ 12 < ( GENTLY ) > $ SO HAVE I , MY DEAR . $ 02 HELP ME , MOTHER . $ 12 YOU KNOW I WILL . $ IN ANY WAY WITHIN MY POWER . $ < HELOISE RISES AND KNEELS AT THE ABBESS'S FEET > $ 02 < ( STEADILY ) > $ MOTHER , I ASK TO BE RECEIVED INTO THE SISTERHOOD . $ #60 $ < THERE IS A PAUSE , THEN THE LIGHT PARTIALLY FADES $ HELOISE EXITS IN THE DARKNESS $ THE ABBESS TURNS UPSTAGE TO FACE THE WAITING NUNS , ALL , WI TH HANDS TOGETHER , SINGING THE " DIES IRAE " > $ < SCENE TWELVE > $ < THE CONVENT CHAPEL , ARGENTEUIL $ THE NUNS ARE SINGING , THE ABBESS WAITING > $ 22 < ( SINGING ) > $ DIES IRAE , DIES ILLA , SOLVET SAECLUM IN FAVILLA , TESTE DA VID CUM SYBILLA . $ QUANTUS TREMOR EST FUTURUS , QUANDO JUDEX EST VENTURUS , CUN CTA STRICTE DISCUSSURUS . $ TUBA MINUM SPONGEUS SONUS PER SEPULCHRA REGIONUM OMNES ANTE THRONUM . $ < TOWARDS THE END OF THE SINGING A NUMBER OF MONKS ENTER AND TAKE UP POSITIONS $ AS THE SINGING FINISHES AN ORGAN AND SOLO SOPRANO VOICE ARE HEARD . $ THE ABBESS TURNS DOWNSTAGE $ HELOISE , WITH CROPPED HAIR , ENTERS , CLOTHED IN A GORGEOUS ROBE . $ WITH HER HANDS TOGETHER IN PRAYER SHE WALKS SLOWLY CENTRE , PAUSES AS IF TAKING A SILENT FAREWELL OF THE WORLD , THEN TU RNS UPSTAGE TOWARDS THE WAITING ABBESS AND NUNS . $ TWO NUNS AT THE REAR OF THE GROUP MOVE DOWN TO KNEEL BELOW T HE ABBESS , FACING EACH OTHER . $ DURING THE LAST FEW BARS OF THE MUSIC HELOISE KNEELS BETWEEN THE TWO NUNS . $ SILENCE > $ 12 MY DAUGHTER , YOU ARE ABOUT TO ENTER THE SISTERHOOD OF CH RIST . $ AT THIS MOST SACRED MOMENT THINK ON HIM TO WHOM NOW AND ETER NALLY YOU COMMIT YOURSELF . $ LOVE HIM , REST YOUR SOUL IN HIS , AND IN THE SILENT REACHES OF YOUR DEEPEST HEART , WHISPER HIS HOLY NAME . $ < MUSIC STARTS . $ HELOISE RISES SLOWLY AND FACES DOWNSTAGE > $ 02 PETER ... $ < THE LIGHTING FADES TO BLACK-OUT . $ THE NUNS AND MONKS REPEAT " PETER , PETER " , IN A WHISPER . $ THE ORGAN AND SOPRANO VOICE ARE HEARD AGAIN $ < THE ABBESS AND HELOISE EXIT . $ ABELARD , NOW IN HIS ABBOT'S ROBES , ENTERS AND KNEELS . $ HELOISE RE-ENTERS AND KNEELS $ < THE NUNS STAND UPSTAGE . $ ALL FACE DOWNSTAGE > $ #61 $ < SCENE THIRTEEN > $ < THE ABBEY OF THE PARACLETE $ HELOISE IS KNEELING IN PRAYER , CLOSE TO AND FACING THE AUDI ENCE . $ SHE IS THE ABBESS AGAIN . $ ABELARD , ONCE MORE THE AGEING ABBOT , KNEELS BESIDE HER . $ AS THE LIGHTING COMES UP , THE "PETER" S FADE OUT , AND THE MUSIC FADES ALSO . $ SILENCE . $ ABELARD AND HELOISE CROSS THEMSELVES . $ ABELARD RISES . $ HELOISE RISES . $ ABELARD MAKES A MOVE TO LEAVE THE CHAPEL , BUT WAITS FOR HER TO GO FIRST . $ SHE STANDS LOOKING AT HIM . > $ 01 < ( GESTURING TO HER TO PRECEDE HIM ) > $ REVEREND MOTHER ? $ 02 DON'T CALL ME THAT , PETER . $ I 'M NOT REVEREND . $ I 'M NOT A MOTHER - EXCEPT TO THESE WEARY , OVERWATCHED GIRL S . $ NOTHING HAS CHANGED FOR ME . $ I 'M OLDER . $ 01 I AM OLDER . $ YOU ARE - AS I REMEMBER . $ < ( HE MOVES TO GO ) > $ 02 WAIT . $ PLEASE . $ DON'T GO . $ < ABELARD TURNS BACK > $ < ( MAKING AN EFFORT TO BE MATTER-OF-FACT ) > $ I - I HEAR THEY BURNT YOUR BOOK . $ 01 THE " DE TRINITATE " ? $ YES , THEY SAID IT WAS HERETICAL . $ 02 WAS IT ? $ 01 OF COURSE . $ EVERY BOOK EVER WRITTEN ABOUT THE TRINITY IS HERETICAL , BAR RING THE ATHANASIAN CREED , AND EVEN THAT ONLY SAVES ITSELF BY CONTRADICTING EVERYTHING IT SAYS AS FAST AS IT SAYS IT . $ 02 < ( LAUGHING SPONTANEOUSLY IN SPITE OF HERSELF ) > $ OH , THAT 'S MY PETER ! $ < ( SHE CHECKS HERSELF . $ AFTER A MOMENT ) > $ HOW ABSURD . $ THAT WE SHOULD COME TO THIS . $ 01 ABSURD ? $ 02 TWO LOVERS IN FANCY DRESS , WONDERING WHAT TO SAY TO EACH OTHER . $ 01 YOU FIND YOUR CLOTHES RIDICULOUS ? $ 02 DON'T YOU ? $ 01 NO . $ THEY TELL THE TRUTH ABOUT YOU . $ 02 YOU MISTAKE HYPOCRISY FOR RELIGION , PETER . $ 01 A HYPOCRITE ? $ THAT 'S NOT YOUR REPUTATION . $ 02 OH , I DO MY WORK . $ I TRAIN THE NOVICES AS I WAS TRAINED . $ I PLAY THE GAME ACCORDING TO THE RULES . $ IF THERE 'S ANY MERIT IN KEEPING VOWS ONCE YOU 'VE MADE THEM , IN NOT BEING AN OPEN SCANDAL TO YOUR PROFESSION , THAT PE RHAPS I HAVE . $ BUT IT 'S A HEATHEN VIRTUE , NOT A CHRISTIAN . $ 01 THEY SAY YOU 'RE A SAINT . $ < HELOISE LAUGHS > $ THAT NO BEGGAR COMES TO THE GATE BUT LEAVES IT BLESSING YOU : THAT THEY BRING YOU WAILING CHILDREN AND THEY 'RE QUIET IN YOUR ARMS : THEY ARE WOUNDED AND YOUR HANDS MAKE WHOLE . $ 02 I DO WHAT ANY COMPETENT NURSE COULD DO . $ 01 " LORD , WHEN SAW WE THEE AND HUNGERED AND FED THEE , OR THIRSTY , AND GAVE THEE DRINK ? " $ 02 NO . $ NO , YOU MUSTN'T SAY THAT . $ IT 'S NOT TRUE . $ #62 $ 01 < ( GENTLY ) > $ HAS IT NEVER OCCURRED TO YOU THAT IT MAY BE TRUE , THAT YOU MAY NOT KNOW IT ? $ 02 IF I TELL YOU THAT WHEN I TOOK THE VEIL I COMMITTED MYSEL F , NOT TO GOD , BUT TO YOU IN YOUR MUTILATION - THAT AT NO MOMENT IN MY LIFE DID I GIVE MYSELF SO PASSIONATELY TO MY HU SBAND - THAT IT WAS LIKE A SECOND MARRIAGE - THAT WHEN I LIE IN MY CELL YOU LIE BESIDE ME - WHEN I SLEEP , YOU SLEEP WIT H ME - WHEN I DREAM , I DREAM OF YOUR ARMS HOLDING ME - THAT IF YOU ASKED ME I WOULD COME TO YOU HERE , NOW , THIS MOMEN T - IF I TELL YOU THAT THE NEED FOR LOVING NEVER STOPS - WIL L YOU BELIEVE ME ? $ 01 < ( AFTER A PAUSE ) > $ TELL ME , DO YOU BELIEVE IN GOD ? $ DO YOU THINK THERE IS A GOD AT ALL ? $ 02 PROBABLY NOT . $ 01 < ( AFTER A PAUSE ) > $ WILL YOU PRAY WITH ME ? $ 02 WHY NOT ? $ IT 'S HARMLESS . $ < HELOISE AND ABELARD KNEEL . $ THE LIGHTS CHANGE SO THAT EACH IS IN A SEPARATE POOL > $ 01 O LORD WHO HATH BROUGHT US TOGETHER AND PARTED US WHEN AN D AS IT PLEASED THEE , THE WORK WHICH THOU DIDST BEGIN IN ME RCY FINISH TODAY IN A MULTITUDE OF MERCIES , AND THOSE WHOM THOU MUST PART FOR A TIME IN THIS WORLD , UNITE FOREVER IN T HE NEXT , O THOU , OUR HOPE , OUR INHERITANCE , OUR EXPECTAT ION , OUR CONSOLATION , O LORD WHO ART BLEST FOREVER . $ AMEN . $ < ABELARD RISES AND MOVES UPSTAGE , FACING FRONT . $ HELOISE REMAINS ON HER KNEES . $ THE MONKS FORM A SEMICIRCLE ROUND ABELARD , AND THE NUNS DO THE SAME ROUND HELOISE . $ ALL HUM > $ 02 A BRIEF GLIMPSE IN AN EMPTY CHAPEL - AND THEN GOOD-BYE FO R EVER . $ THERE 'S NOTHING TO TOUCH GOD'S CRUELTY , IS THERE ? $ IT 'S QUITE SUBLIME . $ PETER ? $ PETER , WHERE ARE YOU ? $ DON'T LEAVE ME ! $ PETER ! $ < ALL STOP HUMMING > $ 01 I 'LL WRITE TO HER - I 'LL WRITE - THERE 'LL BE LETTERS . $ 02 LETTERS ! $ CAN I EMBRACE A LETTER , HEAR ITS HEARTBEAT , FEEL ITS WARMT H ? $ CAN I LOVE A LETTER ? $ < THE MONKS AND NUNS CONTINUOUSLY CHANT " LOVE , LOVE , LOVE ... " > $ 01 LOVE GOD . $ LOVE GOD . $ 02 MY DARLING , MY DARLING ... I WOULD FOLLOW HIM TO HELL - $ < THE CHANTING STOPS > $ - ITSELF IF HE ASKED ME , BUT ... $ 01 CAN IT BE THE ONE PLACE SHE WON'T FOLLOW ME IS HEAVEN ? $ 02 HE DOESN'T KNOW HOW IT IS FOR ME . $ HIS GOD HAS HELPED HIM NOT TO WANT ME . $ HE 'S MAIMED IN SOUL AS WELL AS BODY , BUT I ... $ 01 SHE THINKS BECAUSE THE BODY FAILS , DESIRE FAILS WITH IT . $ IF ONLY IT WERE TRUE . $ < THE MONKS GIVE A LOUD SIGH > $ #63 $ 02 OH , MY PETER , YOU ARE EVERYWHERE STILL - EVERYWHERE . $ 01 AND GOD ? $ 02 NOWHERE . $ SO WHAT CAN I EXPECT OF GOD ? $ 01 EXPECT NOTHING . $ GIVE . $ < THE MONKS AND NUNS REPEAT CONTINUOUSLY " GIVE , GIVE , GIV E ... " > $ 02 AND IF ONE HAS ALREADY GIVEN , AND THERE 'S NO MORE OIL I N THE LAMP ? $ < THE MONKS AND NUNS GIVE A SHARP SHOUT " HA ! " $ THE MONKS TURN TO FACE HELOISE > $ 01 I KNOW . $ I KNOW . $ WHEN I ENTERED ST DENIS IT WAS TO HIDE MY SHAME . $ NO OTHER REASON . $ I HAD NO VOCATION EITHER . $ FOR MONTHS I WAS SICK IN MIND AND BODY . $ 02 WARM SWEET BODY . $ 01 AND THEN , WHEN I COULD GET ABOUT , I WALKED . $ I TRAMPED CEASELESSLY DAY AFTER DAY . $ 02 WARM SWEET BODY IN MY ARMS . $ 01 I WALKED ALONE , TRYING TO WILL MYSELF TO GOD . $ NO BLIND ECSTASY DROVE ME , BUT EVERY SENTENCE I 'D EVER WRI TTEN OR SPOKEN PASSED BEFORE ME , LIKE A LIFETIME TO A DROWN ING MAN - $ 02 MY MAN . $ 01 - AND IN A KIND OF POMP OF ABNEGATION I OFFERED THEM HUMB LY TO GOD . $ 02 THERE IS NO GOD . $ 01 I WENT ON AND ON AN ON UNTIL MY MIND WAS EMPTY , A VACUUM , NOTHING REMAINED OF ABELARD . $ IT WAS THE PRIDE OF HUMILITY , THE CEREMONIAL PRIDE OF THE R OMAN SALUTE . $ I WAITED FOR SOME RESPONSE . $ THERE WAS NONE . $ 02 THERE IS NO GOD . $ LOVE ME . $ < THE MONKS AND NUNS BREATHE " AH " AND CONTINUE > $ 01 AND THEN ONE DAY I WAS STANDING LOOKING DOWN AT A RIVER , AND SOMETHING IN THE STILL , SHINING SURFACE OF IT REMINDED ME OF A DAY I 'D FORGOTTEN , THIRTY YEARS BEFORE . $ 02 I 'M YOUNG STILL . $ YOUNG AND FULL OF LIFE . $ LOVE ME . $ 01 AS A BOY I 'D GONE WITH MY FATHER ON PILGRIMAGE TO ST GIL DAS . $ IT WAS WINTER AND THE WIND BLEW , BUT STANDING ON THE CLIFF ABOUT THE POINT I 'D SEEN A STRANGE SILVER PATHWAY . $ 02 I WANT YOU , PETER . $ 01 IT SWEPT ROUND THE HEADLAND AND OUT TO SEA . $ THERE WAS NO RIPPLE ON IT . $ 02 I WANT YOU NOW . $ I NEED YOU NOW . $ 01 IT RAN AGAINST THE TIDE , DIRECTLY COUNTER TO THE WAVES S URROUNDING IT . $ 02 I WANT YOU AT MASS , WHEN PRAYER SHOULD BE PUREST ... $ 01 MY FATHER , STANDING BESIDE ME , WAS SO WITHDRAWN - $ < HELOISE CATCHES HER BREATH > $ - THAT FOR A TIME I HESITATED TO ASK HIM WHAT IT WAS . $ 02 AND AT NIGHT ... $ #64 $ 01 WHEN I DID , HE SAID " IT 'S THE WILL OF GOD . " $ 02 IN MY CELL AT NIGHT ... $ 01 I 'D NO IDEA WHAT HE MEANT . $ 02 IN BED , PETER - ALONE IN BED ... $ 01 STANDING THERE THIRTY YEARS LATER , NO HEAVENS OPENED ... $ 02 < ( WRITHING ) > $ SOMETIMES THE VERY MOVEMENTS OF MY BODY ... $ 01 I SAW NO SON OF MAN . $ I HAD NO VISION . $ < HELOISE CATCHES HER BREATH AGAIN . $ THE MONKS AND NUNS STOP THE " AH " SOUND > $ BUT IN A MOMENT I FELT THE BLOOD EBBING FROM MY HEART . $ 02 THE MOMENT BEFORE ! $ 01 I THOUGHT I WAS GOING TO DIE . $ 02 THE MOMENT BEFORE THE ECSTASY ! $ 01 AND THEN - IT HAPPENED . $ 02 LOVE'S FULFILMENT ! $ O MY DARLING ... $ < THE MONKS AND NUNS START TO WRITHE , SLOWLY , DOWNWARDS TO WARDS THE FLOOR > $ 01 < ( CRESCENDO ) > $ WITH NO WARMTH OF CONTRITION , NO PASSION OF DEVOTION , STRI PPED OF ALL HUMAN EMOTION BUT WITH EVERY POWER OF MY MIND , EVERY PULSE OF MY BODY - I WORSHIPPED GOD . $ < THE MONKS AND NUNS LIE ON THE FLOOR , PROSTRATED > $ 02 < ( WITH A GREAT CRY ) > $ YOU FOUND YOUR CRUTCH . $ 01 < ( FIRMLY ) > $ I FOUND THE ROCK . $ LET THE TEMPEST COME , IT WILL NOT SHAKE ME . $ MY BELIEF IS SURE . $ 02 < ( AFTER A PAUSE ; QUIETLY ) > $ MASTER , PHILOSOPHER , MAN OF GOD - WHENEVER MEN SPEAK OF GI ANTS , THEY 'LL REMEMBER ABELARD . $ 01 < ( SIMPLY , WITH GREAT TENDERNESS ) > $ IF I 'M REMEMBERED , IT WILL BE FOR THIS : THAT I WAS LOVED BY HELOISE . $ 02 PETER ABELARD . $ MY HUSBAND . $ < THE NUNS RISE , REPEATING CRESCENDO " HUSBAND , HUSBAND , HUSBAND ... " > $ 01 MY SISTER IN CHRIST . $ < HELOISE RISES . $ SIMULTANEOUSLY THE MONKS REPEAT " CHRIST , CHRIST , CHRIST . .. " $ THE MONKS MOVE ABELARD , AND THE NUNS MOVE HELOISE , SO THAT HE IS DOWNSTAGE , WITH HIS BACK TO HER > $ 02 MY HUSBAND . $ MY HUSBAND , HUSBAND , HUSBAND ! $ PETER , WHERE ARE YOU ? $ I 'M DROWNING ] $ I 'M SUFFOCATING IN CHRIST ] $ 02 LET GO ! $ YOU BELONG TO HIM WHO HAS CONQUERED THE WORLD . $ LET GO ! $ 02 PETER , FOR GOD'S SAKE COME BACK ! $ < THE NUNS REPEAT " GOD'S SAKE " UNTIL THE END OF HELOISE'S LINE > $ I 'M SO ALONE ! $ 01 GOD IS WITH YOU . $ 02 THERE IS NO GOD ! $ THERE IS NO GOD ! $ #65 $ < THE NUNS SHOUT " NO - " AND THE MONKS " GOD - " , THEY SHO UT THE WORDS TWICE , THEN ALL START TO SWAY SLOWLY FROM LEFT TO RIGHT , AND CONTINUE > $ TWO SHATTERED LIVES . $ 01 GOD'S MERCY . $ 02 PITILESS ! $ 01 PURIFYING . $ A SCORCHING FIRE . $ 02 ALONE , ALONE , ALONE ! $ < THE NUNS INTONE " ALONE " BETWEEN HELOISE'S WORDS > $ 01 LOVE HIM . $ < THE MONKS CHANT " LOVE HIM " . > $ LOVE HIM - AS YOU LOVED ME - TO THE FURTHEST REACH OF YOUR S HADOW . $ 02 HELP ME , PETER . $ < THREE NUNS ALTER THEIR CHANT TO " HELP ME " $ 01 THIS IS YOUR DELIVERANCE - AND MINE . $ LET GO ! $ 02 HELP ME ! $ < THE CHANTING CONTINUES , THE NUNS " ALONE " , " HELP ME " , THE MONKS " LOVE HIM " , " CHRIST " , ALL INTERMINGLED BUT EACH CHANT IN TURN BEING HEARD THROUGH THE GENERAL CACOPHON Y OF SOUND > $ 01 HOLY JESUS , MUST I BREAK MY HEART TO COMFORT HERS ? $ < ( SUMMONING ALL HIS POWER ) > $ MY SISTER , IN YOUR STRENGTH , YOUR INTERCESSION , YOUR INNO CENCE , LIES WHAT HOPE I HAVE OF HEAVEN . $ MY GUILT IS IN YOUR HANDS . $ 02 I DON'T UNDERSTAND , I DON'T UNDERSTAND ! $ 01 MY HANDS ARE FOULED BEYOND REDEMPTION , BUT YOURS ... $ PRAY FOR ME . $ SAVE ME . $ GO TO GOD - FOR ME . $ FOR ME . $ 02 GOD KNOWS , I WOULD LOVE GOD FOR YOU , IF I COULD . $ 01 LOVE ME FOR GOD . $ 02 I CAN'T , I 'VE TRIED , I ... $ < ( SUDDENLY ) > $ WHAT DID HE SAY ? $ < HELOISE AND ABELARD ARE GRADUALLY SEPARATED BY THE GRILL , WHICH SLOWLY DESCENDS > $ 01 LOVE ME FOR GOD . $ LOVE ME FOR GOD . $ DID SHE HEAR ? $ 02 < ( GRADUALLY , AS THE THOUGHT GOES HOME ) > $ LOVE HIM FOR GOD ... $ DEAR HEAVEN , AM I HIS SALVATION ? $ 01 DID SHE HEAR ? $ < THE MONKS AND NUNS STOP CHANTING AND SWAYING . $ THERE IS A SUDDEN SILENCE > $ 02 PETER , AM I YOUR SALVATION ? $ PETER ? $ 01 < ( URGENTLY ) > $ DID SHE HEAR ? $ DID SHE HEAR ? $ 02 < ( WITH A CRY , SUDDEN , FEARFUL ) > $ YES ! $ YES , I HEARD , MY BROTHER . $ MY BROTHER IN CHRIST ! $ < THE MONKS AND NUNS RESUME SWAYING SILENTLY > $ 01 < ( FALLS TO HIS KNEES ) > $ MY WIFE . $ MY BELOVED WIFE . $ < ( HE BOWS HIS HEAD ) > $ < THE LIGHT FADES ON ABELARD . $ THE MONKS AND NUNS STOP SWAYING . $ HELOISE STRETCHES OUT HER ARMS AND LIFTS HER HEAD , HER BODY FORMING THE SHAPE OF A CROSS > $ #66 $ 02 < ( CALMLY AND CLEARLY , WITHOUT EXALTATION BUT WITHOUT D ESPAIR ) > $ O GOD - IF THERE IS A GOD - COME NOW . $ < THERE IS A LONG , STILL SILENCE , THEN THE LIGHTS BLACK-OU T $ IN THE DARKNESS , AFTER A MOMENT , A RECORDED VOICE IS HEARD : > $ 28 ON THE TWENTY-FIRST OF APRIL , 1142 , AT THE AGE OF SIXTY -THREE , ABELARD DIED AND WAS BURIED IN THE CRYPT OF THE ABB EY OF THE PARACLETE . $ TWENTY-TWO YEARS LATER , ON THE SIXTEENTH OF MAY 1164 , HELO ISE DIED AND WAS BURIED THERE ALSO , BUT NOT IN THE SAME TOM B . $ SO THEY LAY FOR SIX HUNDRED AND FIFTY YEARS . $ IN 1814 , BY ORDER OF THE GOVERNMENT OF THE DAY , THEIR REMA INS WERE CARRIED TO THE CEMETERY OF PERE LACHAISE IN PARIS , WHERE THE NOBLEST OF THE SONS AND DAUGHTERS OF FRANCE ARE L AID TO REST . $ THERE THEIR DUST WAS MINGLED AND BURIED UNDER A STONE PLINTH , WITH THE WORDS " ABELARD : HELOISE - FOREVER ONE " . $ AND THERE TO THIS DAY THEY LIE TOGETHER . $ < CURTAIN > $