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Sep 30th, 2019
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  1. THE FIFTH GATHERS: SCENE 19: YODA'S HUT
  2.  
  3. Having taken him to the small hut where he lives, the Muppet prepares some soup for The Gospel of Luke.
  4.  
  5. THE GOSPEL OF LUKE: The reason for the meeting is divided into sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub
  6.  
  7. THE MUPPET: It is the time to eat the same food in the same way. Eat it!. Eat it!. Hot. In the middle of the world.
  8.  
  9. The Gospel of Luke takes the soup, but is starting to get annoyed by the whole situation.
  10.  
  11. THE GOSPEL OF LUKE: Like her? It is on the trunk in the trunk for a private or long on the take,.
  12.  
  13. THE MUPPET: Yu Yu na hai, i wa yu na hai. Patience is nothing.
  14.  
  15. Having assured him that everything is fine, The Muppet goes back to his cooking for a bit, before expressing some curiosity.
  16.  
  17. THE MUPPET: Root of leaves. Private cuisine. I was in Tokyo and in this for the last of?
  18.  
  19. THE GOSPEL OF LUKE: And the father of the father of the last six minutes and complete.
  20.  
  21. THE MUPPET: father. He was a strong and big. Strong, Niki.
  22.  
  23. This claim greatly frustrates The Gospel of Luke, turning him into a bit of a broken record.
  24.  
  25. THE GOSPEL OF LUKE: Coming soon. What is the difference between a father and a son? You know who you are. you know who you are. you know who you are.
  26. It is a private property that is a property that is a property that is a private property. There is no time!
  27.  
  28. Suddenly, the Muppet drops his silly mannerisms, deepens his voice and takes on a more somber demeanor.
  29.  
  30. THE MUPPET: Teaching forms - - - - - - - - - - - The boy is patience or flying the last Ma estate.
  31.  
  32. And to The Gospel of Luke's surprise, he is answered by the ghostly voice of Ratio Tile.
  33.  
  34. RATIO TILE: he is suffering or learning.< / i>
  35.  
  36. THE MUPPET: He was on the anger of this... He was born to his father.
  37.  
  38. (What a twist! I think I need to rewatch Backstroke of the West with that in mind...)
  39.  
  40. RATIO TILE: You-TA, private in the forms of teaching and with, private is what, illegal after The had?< / i>
  41.  
  42. THE MUPPET: number. He is ready to be loved.
  43.  
  44. THE GOSPEL OF LUKE: Dada.
  45.  
  46. The Gospel of Luke stares at The Muppet confounded, only now realizing that he's talking to the Great Hopeless Situation Master... Dada. Agitated, he rants to the skies...
  47.  
  48. THE GOSPEL OF LUKE: The private is ready to go. Private is the Tokyo, and in terms of such as, and on the terms of the forms..
  49.  
  50. (NOTE TO SYLARJR: I have added this line from Rivercast's second translation, as I thought it was just too good to skip. Could you record it too?)
  51.  
  52. (ALT!LINE: THE GOSPEL OF LUKE: The private is ready to go. I am The Empress of Tokyo.I am The Empress of Tokyo..)
  53.  
  54. DADA: Okay? Are you ready for the Waker? In 800 years, and the Tokyo or training with the ... Personal information is used for personal training.
  55. It is the most profound decision that is necessary for the Empress... The most profound Moo-heart. It is also a long time to see the private. Each other's life is different from each other...
  56. The future, the horizon. He was born into the world.. Do he was fucking! I'm scared. I'm excited. I'm not looking forward to it. It is without a plan.
  57.  
  58. RATIO TILE: I was a private and beautiful woman.
  59.  
  60. DADA: He is ancient. It is very old to start with the graphics.
  61.  
  62. The Gospel of Luke, however, is not going to give up so easily.
  63.  
  64. THE GOSPEL OF LUKE: Shi Ka, private NU na ni na learn too Ma Shi Ta.
  65.  
  66. DADA: What is the difference between a person who starts a person and a person who finishes a person?
  67.  
  68. But the Gospel of Luke defiantly stands his ground.
  69.  
  70. THE GOSPEL OF LUKE: Private WA is a-TA or failure. Terror on the last
  71.  
  72. DADA: You are. You are.
  73.  
  74. END OF SCENE 19.
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