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Learning C# 7 By Developing
Games with Unity 2017
Third Edition

Learn C# Programming by building fun and interactive games

with Unity

Micael DaGraça

Greg Lukosek

BIRMINGHAM - MUMBAI
Learning C# 7 By Developing Games with
Unity 2017
Third Edition
Copyright © 2017 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, without the prior written permission of the
publisher, except in the case of brief quotations embedded in critical articles or reviews.

Every effort has been made in the preparation of this book to ensure the accuracy of the
information presented. However, the information contained in this book is sold without
warranty, either express or implied. Neither the author, nor Packt Publishing, and its
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Packt Publishing has endeavored to provide trademark information about all of the
companies and products mentioned in this book by the appropriate use of capitals.
However, Packt Publishing cannot guarantee the accuracy of this information.

First published: September 2013

Second edition: March 2016

Third edition: December 2017

Production reference: 1211217

Published by Packt Publishing Ltd.

Livery Place
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B3 2PB, UK.
ISBN 978-1-78847-892-2

www.packtpub.com
 Credits

Author
Copy Editor
Micael DaGraça
Safis Editing
Greg Lukosek

Reviewers Project Coordinator

Predrag Koncar Devanshi Doshi

Commissioning Editor Proofreader

Amarabha Banerjee Safis Editing

Acquisition Editor Indexer

Reshma Raman Pratik Shirodkar

Content Development Editor Graphics

Flavian Vaz Jason Monteiro

Technical Editor Production Coordinator

Ralph Rosario Melwyn Dsa
 About the Authors
Micael DaGraça is a game designer and an AR developer living in Porto, Portugal. He has
worked for multiple game studios, contributing to the creation of different indie games and
interactive apps. Micael grew up playing video games, and that passion never went away.
So later on, in his life, he decided to learn how to create games. Without any previous
knowledge in coding or 3D animation, he slowly started creating simple games, learning
more with those experiences each time. When the games began working fine and the
gameplay became enjoyable, he started making plans to publish a game in collaboration
with an old friend. Micael was responsible for the technical aspect of the game, ensuring
that the game worked as planned, while his friend created all the artwork for the game.
Finally, the game was published, and it received some positive feedback from other indie
game developers. Since the game generated some revenue, the decision of becoming a game
designer turned into reality. Today, Micael works for other studios, helping others to
develop their game ideas, He has also integrated into a company that focuses on the
creation of interactive apps for health care and pharmaceutic companies. Even not having
time to keep working on personal projects, he has a few frozen game projects that are still
under development with the help of his friend.

"First and most importantly, I would like to thank my parents; they have always worked so
hard and I know that they sacrificed a lot so I could pursuit my dreams. From the bottom of
my heart I thank you mom and dad. To my sister who has supported me in so many ways, I
thank you for helping me start my career as a game designer; without you, my journey
would be much harder. A warm and fluffy thank you to my girlfriend Marta, who helps me
by keeping me motivated and focused on my work; it's been more than a pleasure sharing
my life with you."
Greg Lukosek was born and raised in the Upper Silesia region of Poland. When he was
about 8 years old, his amazing parents bought him and his brother a Commodore C64. That
was when his love of programming started. He would spend hours writing simple basic
code, and when he couldn't write it on the computer directly, he used a notepad.

Greg completed his mechanical engineering diploma at ZSTiO Meritum–Siemianowice

Slaskie, Poland. He has learned all his programming skills through determination and hard
work at home.

Greg met the love of his life, Kasia, in 2003, which changed his life forever. They both
moved to London in search of adventure and decided to stay there.

He started work as a 3D artist and drifted away from programming for some years. Deep
inside, he still felt the urge to come back to game programming. During his career as a 3D
artist, he discovered Unity and adopted it for an interactive visualizations project. At that
very moment, he started programming again.

His love for programming overcomes his love for 3D graphics. Greg ditched his 3D artist
career and came back to writing code professionally. He is now doing what he really
wanted to do since he was 8 years old–developing games.

These days, Greg lives in a little town called Sandy in the UK with Kasia and their son,
Adam.
 About the Reviewer
Predrag Koncar is a game developer/artist and multimedia researcher, active in both visual
arts and computer science. His primary areas of interest are games and combining
technology and art. He likes to spend his free time painting and actively participates in art
shows. Predrag has worked as a technical and creative director for many online projects,
published over 40 online games, participated in the production of several mobile games,
and also reviewed five books by Packt Publishing. He has a strong background in Unity,
C#, Augmented Reality, Maya, and AI and is a member of Mensa and ACM SIGGRAPH.
 www.PacktPub.com
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 Table of Contents
Preface 1
Chapter 1: Discovering Your Hidden Scripting Skills and Getting Your
Environment Ready 6
Prerequisite knowledge to use this book 7
Dealing with scriptphobia 7
Downloading Unity 8
Obtaining a free license 9
Teaching behavior to GameObjects 9
Using Unity's documentation 10
The Unity community – asking others for help 13
Working with C# script files 13
Creating a C# script file 14
Introducing the MonoDevelop code editor 14
Opening LearningScript in MonoDevelop 16
The namespace – highlighted in blue 17
Watching for possible gotchas while creating script files in Unity 17
Fixing synchronization if it isn't working properly 19
Adding our script to GameObject 19
Lots of files can create a mess 21
Why does my Project tab look different? 21
Instance? What is this? 24
Summary 24
Chapter 2: Introducing the Building Blocks for Unity Scripts 25
Understanding what a variable is and what it does 26
Naming a variable 26
A variable name is just a substitute for a value 30
Creating a variable and seeing how it works 32
Declaration 33
Assignment 34
Click Play! 34
Changing variables 35
Watching for a possible gotcha when using public variables 35
What is a method? 36
Using the term "method" instead of "function" 36
Table of Contents

Method names are substitutes, too 38

Introducing the class 39
Inheritance 41
The Start(), Update(), and Awake() methods, and the execution order 42
Components that communicate using dot syntax 44
What's with the dots? 44
Making decisions in code 45
Using the NOT operator to change the condition 46
Checking many conditions in an if statement 47
Using else if to make complex decisions 47
Making decisions based on user input 49
Pencil and paper are powerful tools 50
Summary 50
Chapter 3: Getting into the Details of Variables 51
Writing C# statements properly 52
Understanding component properties in Unity's Inspector 53
Variables become component properties 53
Unity changes script and variable names slightly 53
Changing a property's value in the Inspector panel 54
Displaying public variables in the Inspector panel 55
Private variables 55
Naming your variables properly 56
Beginning variable names with lowercase 57
Using multiword variable names 57
Declaring a variable and its type 58
The most common built-in variable types 59
Assigning values while declaring a variable 59
Where you declare a variable is important 61
Variable scope - determining where a variable can be used 62
Summary 63
Chapter 4: Getting into the Details of Methods 64
Using methods in a script 65
Naming methods properly 66
Beginning method names with an uppercase letter 66
Using multiword names for a method 66
Parentheses are part of the method's name 67
Defining a method the right way 67
The minimum requirements for defining a method 67

[ ii ]
Table of Contents

Understanding parentheses - why are they there? 69

Specifying a method's parameters 70
How many parameters can a method have? 71
Returning a value from a method 71
Returning the value 72
Example 73
Summary 75
Chapter 5: Lists, Arrays, and Dictionaries 76
What is an array? 76
Declaring an array 77
Storing items in the List 78
Common operations with Lists 80
List <T> versus arrays 80
Retrieving the data from the Array or List<T> 81
Checking the size 82
ArrayList 82
Dictionaries 84
Accessing values 85
How do I know what's inside my Hashtable? 86
Summary 86
Chapter 6: Loops 87
Introduction to loops 87
The foreach loop 88
The for loop 90
An example 91
The while loop 95
while versus for loops 96
Loops in statements 96
Modulo 98
Searching for data inside an array 99
Breaking the loop 100
Summary 100
Chapter 7: Object, a Container with Variables and Methods 101
Working with objects is a class act 101
A few facts 104
Example 106
Instantiating an object 107
Bored yet? 109

[ iii ]
Table of Contents

Using methods with objects 110

Custom constructors 112
Overloading 114
Summary 116
Chapter 8: Let's Make a Game! – from Idea to Development 117
Your first game – avoiding the trap of the never–ending concept 117
What do I need to learn before I start creating my own game? 118
The concept 119
Game mechanics and core components 119
Breaking the concept into smaller parts 120
Testing the mechanics 122
Level design 122
An animated 2D character 123
Physics 124
Mouse and touch controls 124
Collectables and obstacles 124
Scoring 125
UI – the user interface 126
Target platform and resolution 128
Target screen resolution 129
Summary 129
Chapter 9: Starting Your First Game 130
Setting up a new Unity project for our game 131
Backup 131
Keeping your project clean 132
Preparing the player prefab 134
Rigidbody2D 136
CircleCollider2D 137
PlayerController 138
User input 139
Jump 140
Animator 146
Running 148
Code 149
PlayerController.cs 149
Summary 150
Chapter 10: Writing GameManager 151

[ iv ]
Table of Contents

Gameplay loops 151

Singleton class 154
Starting the game 156
Setting up input keys 157
Using triggers 158
Restarting the game 161
Setting up the player starting position 161
Code in this chapter 163
Summary 166
Chapter 11: The Game Level 167
Designed levels versus generated levels 167
Creating a designed level 169
Creating a generated level 173
Planning the LevelGenerator class 174
Writing the script LevelGenerator 176
Creating a copy of the level piece 178
Instantiating 179
Vector3 179
Testing LevelGenerator 181
Extending the level 182
The code used in this chapter 184
Summary 186
Chapter 12: The User Interface 187
Introducting the Unity UI 188
Views 188
Constructing the view UI – how to keep things clean 188
Target screen resolution 189
Recognizing events 190
Buttons 192
Basic button 193
The image 193
The Button component 193
Interaction 194
The Button action 194
Hiding and showing the Canvas 196
Reference exceptions 197
GameView 200
Game over 201
The code in this chapter 202

[v]
Table of Contents

Summary 204
Chapter 13: Collectables 205
Collectables 205
The coin prefab 206
The Collectable class 210
High score and persisting data 213
Health Points and Health bar 215
Magic Points and Magic bar 217
The code in this chapter 218
Summary 225
Chapter 14: Enemies 226
What makes an enemy? 226
Movement 227
Movement by animation 227
Trigger movement 231
Making it an enemy 237
The code in this chapter 238
Summary 242
Chapter 15: Audio, 3D Games, and Export 243
How to add sound effects and music 243
Where to find sound effects and music 243
Adding music 244
Adding sound effects 248
Through animation 249
Through script 251
How to create a 3D game 252
3D models 253
3D animations 253
Animator 255
How to export and make it playable 257
Code 259
PlayerController.cs 260
Summary 262
Index 263

[ vi ]
 Preface
Hello and welcome to the amazing journey of game development. This book is destined for
those who have always wanted to create a game, the ones who have thousands of good
ideas for games and people who inspire to be professional game developers. This book is
destined for you. Here, you will learn the fundamentals of how to create a game from start
to finish using Unity and C#. Step by step, you will be learning how to code and how to use
the game engine to turn your ideas into real projects. At the end of the book, you'll have
created a 2D platform game, and you will know how to create different games using the
same principles that you have learned.

What this book covers

Chapter 1, Discovering Your Hidden Scripting Skills and Getting Your Environment Ready, puts
you at ease with writing scripts for Unity.

Chapter 2, Introducing the Building Blocks for Unity Scripts, helps you develop the skill of
writing your first executable code.

Chapter 3, Getting into the Details of Variables, teaches you about creating and using C#
variables, followed editing them in Unity Inspector.

Chapter 4, Getting into the Details of Methods, helps you learn more in detail about methods
and how to use them to understand the importance of code blocks and the variables used in
them.

Chapter 5, Lists, Arrays, and Dictionaries, introduces slightly more complex ideas of
handling, lists, arrays, and dictionaries, which allow you to store many values at once.

Chapter 6, Loops, focuses on learn how to "ask" Unity to loop through a section of code and
do something useful.

Chapter 7, Objects, a Container with Variables and Methods, dives into the subjects of
organizing your code and object-oriented programming.

Chapter 8, Let's Make a Game! – from Idea to Development, explains how to turn an idea into a
ready-to-code project and how to break down complex mechanics into pieces.
Preface

Chapter 9, Starting Your First Game, outlines transforming an idea into a real Unity project.

Chapter 10, Writing GameManager, gets you acquainted with the basics of the singleton
approach and also helps you work through the gameplay loop.

Chapter 11, The Game Level, teaches how to create reusable pieces
of a level and also how to populate them to create the illusion of an endlessly running
game.

Chapter 12, The User Interface, showcases how to construct and implement the user
interface in our game.

Chapter 13, Collectables, outlines collectables and storing some data between Unity sessions.

Chapter 14, Enemies, assists in how to create enemies and obstacles, how to animate them
and how to turn simple Game Objects into deadly objects.

Chapter 15, Audio, 3D Games, and Export, assists in implementing audio effects and music,
introduces you to the fundamentals of how to create a 3D game, and finally, how we can
export the game to multiple platforms.

What you need for this book

You will definitely need a computer–PC, Mac, or any machine that supports Unity editor
installation. The complete Unity system requirements can be found at
https:/​/​unity3d.​com/​unity.

Who this book is for

The book is targeted at beginner-level Unity developers with no prior programming
experience. If you are a Unity developer and wish to create games by learning how to write
C# scripts or code, then this book is for you.

Conventions
In this book, you will find a number of text styles that distinguish between different kinds
of information. Here are some examples of these styles and an explanation of their meaning.

[2]
Preface

Code words in text, database table names, folder names, filenames, file extensions,
pathnames, dummy URLs, user input, and Twitter handles are shown as follows: "This is
the part where you have to write down instructions so that your GameObjects can be
smarter."

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void AddTwoNumbers ()
{
// Code goes here
}

New terms and important words are shown in bold. Words that you see on the screen, for
example, in menus or dialog boxes, appear in the text like this: "Go ahead and click Play."

Warnings or important notes appear in a box like this.

Tips and tricks appear like this.

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[3]
Preface

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[4]
Preface

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[5]
 Discovering Your Hidden
1
Scripting Skills and Getting
Your Environment Ready
Computer programming is viewed by the average person as requiring long periods of
training to learn skills that are totally foreign and darn near impossible to understand. The
word geek is often used to describe a person who can write computer code. The perception
is that learning to write code takes great technical skills that are just so hard to learn. This
perception is totally unwarranted. You already have the skills needed but don't realize it.
Together, we will crush this false perception that you may have of yourself by refocusing,
one step at a time, on the knowledge that you already possess to write code and develop an
awesome game from scratch.

In this chapter, we will cover the following topics:

Dealing with preconceived fears and concepts about scripts

Preparing the Unity environment for efficient coding
Introducing Unity's documentation for scripting
Explaining how Unity and the MonoDevelop editor work together
Creating our first C# script

Let's begin our journey by eliminating any anxiety about writing scripts for Unity and
become familiar with our scripting environment.
Discovering Your Hidden Scripting Skills and Getting Your Environment
Chapter 1
Ready

Prerequisite knowledge to use this book

Great news if you are a beginner in scripting! This book is for those with absolutely no
knowledge of programming. It is devoted to teaching the basics of C# with Unity.

However, some knowledge of Unity's operation is required. We will only be covering the
parts of the Unity interface that are related to writing C# code. I am assuming that you
know your way around Unity's interface. I will help you, however, to prepare the Unity
layout for efficient scripting.

Dealing with scriptphobia

You've got Unity up and running, studied the interface, and added some GameObjects to
the scene. Now you're ready to have those GameObjects move around, listen, speak, pick
up other objects, shoot the bad guys, or do anything else that you can dream of. So you
click Play, and nothing happens. Well, darn it all anyway!

You've just learned a big lesson: all those fantastic, highly detailed GameObjects are
dumber than a hammer. They don't know anything, and they surely don't know how to do
anything.

So, you proceed to read the Unity Forums, study some scripting tutorials, and maybe even
copy and paste some scripts to get some action going when you click Play. That's great, but
then you realize that you don't understand anything in the scripts you've copied. Sure, you
probably recognize the words, but you fail to understand what those words do or mean in a
script.

You look at the code, your palms get sweaty, and you think to yourself, "I'll never be able to
write scripts!" Perhaps you have scriptphobia: a fear of not being able to write instructions (I
made that up). Is that what you have?

The fear that you cannot write down instructions in a coherent manner? You may believe
you have this affliction, but you don't. You only think you do.

The basics of writing code are quite simple. In fact, you do things every day that are just like
the steps executed in a script. For example, do you know how to interact with other people?
How to operate a computer? Do you fret so much about making a bologna sandwich that
you have to go to an online forum and ask how to do it?

[7]
Discovering Your Hidden Scripting Skills and Getting Your Environment
Chapter 1
Ready
Of course you don't. In fact, you know these things as everyday routines or maybe habits.
Think about this for a moment: do you have to consciously think about the routines that
you do every day? Probably not. After you do them over and over, they become automatic.

The point is that you do things every day following sequences of steps. Who created these
steps that you follow? More than likely, you did, which means that you've been scripting
your whole life.

You just never had to write down the steps for your daily routines on a piece of paper
before you did them. You could write the steps down if you really wanted to, but it takes
too much time and there's no need for it; however, you do in fact know how to. Well, guess
what? To write scripts, you only have to make one small change, start writing down the
steps, not for yourself but for the world that you're creating in Unity.

So as you can see, you are already familiar with the concept of dealing with scripts. Most
beginners of Unity easily learn their way around the Unity interface, how to add assets, and
working in the Scene and Hierarchy windows. Their primary fear and roadblock is their
false belief that scripting is too hard to learn.

Relax! You now have this book. I am going to get really basic in the early chapters. Call
them baby steps if you want, but you will see that scripting for Unity is similar to doing
things that you are already doing every day. I'm sure you will have many Aha moments as
you learn and overcome your unjustified fears and beliefs.

Downloading Unity
You have probably already installed and activated Unity. Where you should look for the
latest Unity version and license might be obvious. However, I've noticed lots of questions
online about where you can get Unity for free, and so I decided to cover this subject. If you
feel that this step is unnecessary for you, skip this part.

The best place to download your Unity copy from is, of course, Unity's official
website: https:/​/​store.​unity.​com/​download?​ref=​personal.

In this book, we will be covering Unity Version 2017.1.1 and higher. We need to download
the latest version of Unity and install it with all components ticked. It's a good idea to install
Unity with the example project. The Unity Example project (the Angry Bots game) is there
for us to play with, experiment, and learn.

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Unity has a store where we can also download more example projects and start playing
around with them. To access the store, you can do it online or directly from the Unity
engine, so don't worry if you forgot to check the Unity Example project in the installation
menu because you can download it at any time.

Obtaining a free license

The easiest way to obtain a Unity license is by simply launching Unity for the first time. The
following steps will guide you through it:

1. Fill in your details so that Unity Technologies can send you your Unity free
license code.
2. Unity will present the License management window. Chose the Unity Personal
(free version).
3. You should receive a verification email with a Confirm email button. Once you
have clicked it, you should be able to log in to Unity.

You are now all set with the latest version of Unity and a free license!

Teaching behavior to GameObjects

You have Unity because you want to make a game or something interactive, such as an AR
or VR experience. You've filled your game with dumb GameObjects. What you have to do
now is be their teacher. You have to teach them everything that they need to know to live in
this world of make–believe. This is the part where you have to write down instructions so
that your GameObjects can be smarter.

Here's a quote from the Unity Manual:

"The behavior of GameObjects is controlled by the Components that are attached to them...
Unity allows you to create your own Components using scripts."

Notice the word behavior. It reminds me of a parent teaching a child proper behavior. This is
exactly what we are going to do when we write scripts for our GameObjects: we'll teach
them the behaviors we want them to have. The best part is that Unity has provided a long
list of all the behaviors that we can give to our GameObjects. This list of behaviors is
documented in the Scripting Reference.

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This means that we can pick and choose anything that we want a GameObject to do from
this list of behaviors. Unity has done all the hard work of programming all of these
behaviors for you. All we need to do is use some code to tie into these behaviors. Did you
catch that? Unity has already created the behaviors; all that we have to do is supply a bit of
C# code to apply these behaviors to our GameObjects. Now, how difficult can it really be
since Unity has already done most of the programming?

Using Unity's documentation

When we begin writing scripts, we will be looking at Unity's documentation quite often, so
it's beneficial to know how to access the information we need. For an overview of a topic,
we'll use the Reference Manual, and for specific coding details and examples, we'll use the
Scripting Reference.

There are a number of ways to access the Unity documentation:

Through the Unity website at

http://docs.unity3d.com/ScriptReference/index.html.
Through the Help menu on the top bar. In this way, you can access a local copy
of Unity reference as we can see in the following image. This is worth
remembering if there are internet connectivity issues:

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Let's open Scripting Reference now and search for a GameObject:

Through the Help menu next to the component name. This will work only for
Unity's built-in, standard components.

This is the place where we can find scripting documentation, answers to our questions, and
a lot of example code. You might feel a bit lost right now, but don't worry, this is quite
normal. The Unity documentation is really easy to use. For the fastest access to relevant
information, use Search scripting... in the top–right corner, as shown here:

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The whole reason Scripting Reference exists is so that we can look for
information as we need it. This will actually make us remember the code
that we write over and over, just like our other daily routines and habits. It
is a very good idea to take a brief look through the most common Unity
objects, such as GameObject, Transform, MonoBehaviour, and Renderer.

C# documentation – where to find it and

do I need it at all?
Another resource that we will be using is Microsoft's C# scripting documentation. We can
access it at https://msdn.microsoft.com/en-us/library/67ef8sbd.aspx.

Let's not worry about it too much at the moment. We agreed to take baby steps, so
bookmark this link in your web browser for now.

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The Unity community – asking others for help

You are planning to become a game developer, or are using Unity for other interactive
projects. During production, at some point, you will definitely need help from other
developers. Unity has a very dedicated community of developers who are always keen to
help each other.

When we encounter some hurdles, why not ask others? In most cases, there is someone like
you out there with similar issues that have been resolved. A good place to talk about issues
in your project is in the Unity Forums. Go ahead and create a forum account now! Don't be
shy; say "hello" to others! Unity Forums are also the perfect place to read announcements
about upcoming updates.

Use Unity Forums to read about others' work, share your work, and connect with other
developers at http://forum.unity3d.com/.

Use Unity Answers to ask specific questions about issues that you have encountered.
Remember to be very specific, try to describe the problem in detail, and don't ask general
questions. For example, don't ask, "Why is my GameObject not moving?" Instead, ask
specifically, "GameObject not moving when adding a rigid body force" and then describe
the details. Posting your code under the question is also a very good idea.

Working with C# script files

Until you learn some basic concepts of programming, it's too early to study how scripts
work, but you still need to know how to create one.

There are several ways of creating a script file using Unity:

1. In the menu, navigate to Assets | Create | C# Script

2. In the Project tab, navigate to Create | C# Script
3. Right-click on the Project tab, and from the pop–up menu, navigate to
Create | C# Script

All of these ways create a .cs file in the Unity Assets folder. From now on, whenever I tell
you to create a C# script, use whichever method you prefer.

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Creating a C# script file

We are now ready to create a new C# file in our learning project:

1. Create a new Unity project and name it Learning Project

2. Right-click on the Project tab and create a folder named Scripts
3. Right-click on the Scripts folder, as shown in the following screenshot, and
create a C# script:

4. Immediately rename NewBehaviourScript to LearningScript

We have created the Scripts folder, which we will be using to organize our C# files. This
folder will contain all of our Unity script files. We have also used Unity to create a C# script
file named LearningScript.cs.

Introducing the MonoDevelop code editor

Unity uses an external editor to edit its C# scripts. Even though it can create a basic starter
C# script for us, we still have to edit the script using the MonoDevelop code editor that's
included with Unity.

Syncing C# files between MonoDevelop

and Unity
Since Unity and MonoDevelop are separate applications, Unity will keep MonoDevelop
synchronized with itself. This means that if you add, delete, or change a script file in one
application, the other application will reflect the changes automatically.

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Exploring the Variety of Random
Documents with Different Content
 Bartlett—[Gruffly.] I’ve naught to forget—leastways naught that’s in
your mind. But they’s things about the stubborn will o’ woman I’d like to
forget. [They look at each other across the table. There is a pause. Finally
he cannot stand her accusing glance. He looks away, gets to his feet, walks
about, then sits down again, his face set determinedly—with a grim smile.]
Well, here we be, Sarah—alone together for the first time since—
Mrs. Bartlett—[Quickly.] Since that night, Isaiah.
Bartlett—[As if he hadn’t heard.] Since I come back to you, almost.
Did ye ever stop to think o’ how strange it be we’d ever come to this? I
never dreamed a day’d come when ye’d force me to sleep away from ye,
alone in a shed like a mangy dog!
Mrs. Bartlett—[Gently.] I didn’t drive you away, Isaiah. You came o’
your own will.
Bartlett—Because o’ your naggin’ tongue, woman—and the wrong ye
thought o’ me.
Mrs. Bartlett—[Shaking her head, slowly.]
It wasn’t me you ran from, Isaiah. You ran away from your own self—
the conscience God put in you that you think you can fool with lies.
Bartlett—[Starting to his feet—angrily.] Lies?
Mrs. Bartlett—It’s the truth, Isaiah, only you be too weak to face it.
Bartlett—[With defiant bravado.] Ye’ll find I be strong enough to face
anything, true or lie! [Then protestingly.] What call have ye to think evil o’
me, Sarah? It’s mad o’ ye to hold me to account for things I said in my
sleep—for the damned nightmares that set me talkin’ wild when I’d just
come home and my head was still cracked with the thirst and the sun I’d
borne on that island. Is that right, woman, to be blamin’ me for mad
dreams?
Mrs. Bartlett—You confessed the rest of what you said was true—of
the gold you’d found and buried there.
Bartlett—[With a sudden fierce exultation.] Aye—that be true as
Bible, Sarah. When I’ve sailed back in the schooner, ye’ll see for yourself.
There be a big chest o’ it, yellow and heavy, and fixed up with diamonds,
emeralds and sech, that be worth more, even, nor the gold. We’ll be rich,
Sarah—rich like I’ve always dreamed we’d be! There’ll be silks and
carriages for ye—all the woman’s truck in the world ye’ve a mind to want
—and all that Nat and Sue’ll want, too.
Mrs. Bartlett—[With a shudder.] Are you tryin’ to bribe me, Isaiah—
with a treasure that’s been cursed by God?
Bartlett—[As if he hadn’t heard.] D’ye remember long ago, back East,
just after we was married, and I was skipper o’ my first whalin’ ship, how
that foreigner come to me with the map o’ the pirates’ gold and asked me to
charter the ship? D’ye remember o’ how I’d talk to ye o’ findin’ ambergris,
a pile o’ it on one vige that’d make us rich? Ye used to take interest then,
and all th’ voyage with me ye’d be hopin’ I’d find it, too.
Mrs. Bartlett—That was my sin o’ greed that I’m bein’ punished for
now.
Bartlett—[Again as if he hadn’t heard.] And now when it’s come to us
at last—bigger nor I ever dreamed on—ye drive me away from ye and say
it’s cursed.
Mrs. Bartlett—[Inexorably.] Cursed with the blood o’ the man and
boy ye murdered!
Bartlett—[In a mad rage.] Ye lie, woman! I spoke no word!
Mrs. Bartlett—That’s what you kept repeatin’ in your sleep, night
after night that first week you was home, till I knew the truth, and could
bear no more. “I spoke no word!” you kept sayin’, as if ’twas your own soul
had you at the bar of judgment. And “That cook, he didn’t believe ’twas
gold,” you’d say, and curse him.
Bartlett—[Wildly.] He was lyin’, the thief! Lyin’ so’s he and the boy
could steal th’ gold. I made him own up he was lyin’. What if it’s all true,
what ye heard? Hadn’t we the right to do away with two thieves? And we
was all mad with thirst and sun. Can ye hold madmen to account for the
things they do?
Mrs. Bartlett—You wasn’t so crazed but you remember.
Bartlett—I remember I spoke no word, Sarah—as God’s my judge!
Mrs. Bartlett—But you could have prevented it with a word, couldn’t
you, Isaiah? That heathen savage lives in the fear of you. He’d not have
done it if——
Bartlett—[Gloomily.] That’s woman’s talk. There be three o’ us can
swear in any court I spoke no word.
 Mrs. Bartlett—What are courts? Can you swear it to yourself? You
can’t, and it’s that’s drivin’ you mad, Isaiah. Oh, I’d never have believed it
of you for all you said in sleep, if it wasn’t for the way you looked and
acted out of sleep. I watched you that first week, Isaiah, till the fear of it had
me down sick. I had to watch you, you was so strange and fearful to me. At
first I kept sayin’, ’twas only you wasn’t rid o’ the thirst and the sun yet.
But then, all to once, God gave me sight, and I saw ’twas guilt written on
your face, on the queer stricken way you acted, and guilt in your eyes. [She
stares into them.] I see it now, as I always see it when you look at me. [She
covers her face with her hands with a sob.]
Bartlett—[His face haggard and drawn—hopelessly, as if he were too
beaten to oppose her further—in a hoarse whisper.] What would ye have
me do, Sarah?
Mrs. Bartlett—[Taking her hands from her face—her eyes lighting up
with religious fervor.] Confess your sin, Isaiah! Confess to God and men,
and make your peace and take your punishment. Forget that gold that’s
cursed and the voyage you be settin’ out on, and make your peace.
[Passionately.] I ask you to do this for my sake and the children’s, and your
own most of all! I’ll get down on my knees, Isaiah, and pray you to do it, as
I’ve prayed to God to send you his grace! Confess and wash your soul of
the stain o’ blood that’s on it. I ask you that, Isaiah—and God asks you—to
make your peace with Him.
Bartlett—[His face tortured by the inward struggle—as if the word
strangled him.] Confess and let someone steal the gold! [This thought
destroys her influence over him in a second. His obsession regains
possession of him instantly, filling him with rebellious strength. He laughs
harshly.] Ye’d make an old woman o’ me, would ye, Sarah?—an old,
Sunday go-to-meetin’ woman snivvelin’ and prayin’ to God for pardon!
Pardon for what? Because two sneakin’ thieves are dead and done for? I
spoke no word, I tell ye—but if I had, I’d not repent it. What I’ve done I’ve
done, and I’ve never asked pardon o’ God or men for ought I’ve done, and
never will. Confess, and give up the gold I’ve dreamed of all my life that
I’ve found at last! By thunder, ye must think I’m crazed!
Mrs. Bartlett—[Seeming to shrivel up on her chair as she sees she has
lost—weakly.] You be lost, Isaiah—no one can stop you.
 Bartlett—[Triumphantly.] Aye, none’ll stop me. I’ll go my course
alone. I’m glad ye see that, Sarah.
Mrs. Bartlett—[Feebly trying to get to her feet.] I’ll go to home.
Bartlett—Ye’ll stay, Sarah. Ye’ve had your say, and I’ve listened to
ye; now I’ll have mine and ye listen to me. [Mrs. Bartlett sinks back in
her chair exhaustedly. Bartlett continues slowly.] The schooner sails at
dawn on the full tide. I ask ye again and for the last time, will ye christen
her with your name afore she sails?
Mrs. Bartlett—[Firmly.] No.
Bartlett—[Menacingly.] Take heed, Sarah, o’ what ye’re sayin’! I’m
your husband ye’ve sworn to obey. By right I kin order ye, not ask.
Mrs. Bartlett—I’ve never refused in anything that’s right—but this be
wicked wrong.
Bartlett—It’s only your stubborn woman’s spite makes ye refuse.
Ye’ve christened every ship I’ve ever been skipper on, and it’s brought me
luck o’ a kind, though not the luck I wanted. And we’ll christen this one
with your own name to bring me the luck I’ve always been seekin’.
Mrs. Bartlett—[Resolutely.] I won’t, Isaiah.
Bartlett—Ye will, Sarah, for I’ll make ye. Ye force me to it.
Mrs. Bartlett—[Again trying to get up.] Is this the way you talk to me
who’ve been a good wife to you for more than thirty years?
Bartlett—[Commandingly.] Wait! [Threateningly.] If ye don’t christen
her afore she sails, I’ll take Nat on the vige along with me. [Mrs. Bartlett
sinks back in her chair, stunned.] He wants to go, ye know it. He’s asked me
a hundred times. He s’spects—’bout the gold—but he don’t know for sartin.
But I’ll tell him the truth o’ it, and he’ll come with me, unless—
Mrs. Bartlett—[Looking at him with terror-stricken eyes—
imploringly.] You won’t do that, Isaiah? You won’t take Nat away from me
and drag him into sin? I know he’ll go if you give him the word, in spite of
what I say. [Pitifully.] You be only frightenin’ me! You can’t be so wicked
cruel as that.
Bartlett—I’ll do it, I take my oath—unless—
Mrs. Bartlett—[With hysterical anger.] Then I’ll tell him myself—of
the murders you did, and—
 Bartlett—[Grimly.] And I’ll say ’twas done in fair fight to keep them
from stealin’ the gold! I’ll tell him your’s is a woman’s notion, and he’ll
believe me, not you. He’s his father’s son, and he’s set to go. Ye know it,
Sarah. [She falls back in the chair hopelessly staring at him with horrified
eyes. He turns away and adds after a pause.] So ye’ll christen the Sarah
Allen in the mornin’ afore she sails, won’t ye, Sarah?
Mrs. Bartlett—[In a terrified tone.] Yes—if it’s needful to save Nat—
and God’ll forgive me when He sees my reason. But you—Oh, Isaiah! [She
shudders and then breaks down, sobbing.]
Bartlett—[After a pause, turns to her humbly as if asking her
forgiveness.] Ye mustn’t think hard o’ me that I want your name. It’s
because it’s a good woman’s name, and I know it’ll bring luck to our vige.
I’d find it hard to sail without it—the way things be.
Mrs. Bartlett—[Getting to her feet—in a state of feverish fear of him.]
I’m goin’ to home.
Bartlett—[Going to her.] I’ll help ye to the top o’ the hill, Sarah.
Mrs. Bartlett—[Shrinking from him in terror.] No. Don’t you touch
me! Don’t you touch me! [She hobbles quickly out of the door in the rear,
looking back frightenedly over her shoulder to see if he is following as

[The Curtain Falls]

 ACT THREE
Scene—Dawn of the following morning—exterior of the Bartlett home,
showing the main entrance, facing left, toward the harbor. On either side
of the door, two large windows, their heavy green shutters tightly closed.
In front of the door, a small porch, the roof supported by four white
column. A flight of three steps goes up to this porch from the ground. Two
paths lead to the steps through the straggly patches of grass, one around
the corner of the house to the rear, the other straight to the left to the edge
of the cliff where there is a small projecting iron platform, fenced in by a
rail. The top of a steel ladder can be seen. This ladder leads up the side or
the cliff from the shore below to the platform. The edge of the cliff extends
from the left corner front, half-diagonally back to the right, rear-center.
In the grey half-light of the dawn, Horne, Cates, and Jimmy Kanaka are
discovered. Horne is standing on the steel platform looking down at the
shore below. Cates is sprawled on the ground nearby. Jimmy squats on his
haunches, his eyes staring out to sea as if he were trying to pierce the
distance to the warm islands of his birth. Cates wears dungarees, Jimmy
dungaree pants and a black jersey; Horne, the same as in Act Two.
Cates—[With sluggish indifference.] Ain’t she finished with it yet?
Horne—[Irritably.] No, damn her! I kin see ’em all together on the
wharf at the bow o’ the schooner. That old crow o’ a woman o’ his! Why
the hell don’t she christen her and be done with it and let us make sail?
Cates—[After a pause.] Funny, ain’t it—his orderin’ us to come up here
and wait till it’s all done.
Horne—[Angrily.] That’s her doin’, too. She thinks we ain’t good
enough to be where she is. [After a pause.] But there’s nothin’ funny to me
that he does no more. He’s still out o’ his head, d’ye know that, Cates?
Cates—[Stupidly.] I ain’t noticed nothin’ diff’rent ’bout him.
Horne—[Scornfully.] He axed me if I ever seen them two in my sleep—
that cook and the boy o’ the Triton. Said he did often.
Cates—[Immediately protesting uneasily as if he had been accused.]
They was with us in the boat b’fore we fetched the island, that’s all ’bout
’em I remember. I was crazy, after.
Horne—[Looking at him with contempt.] So was we all crazy, for the
matter o’ that. I’ll not call ye a liar, Cates, but—a hell o’ a man ye be! You
wasn’t so out o’ your head that ye forgot the gold, was ye?
Cates—[His eyes glistening.] That’s diff’rent. Any man’d remember
that, even if he was crazy.
Horne—[With a greedy grin.] Aye. That’s the one thing I see in my
sleep. [Gloatingly.] We’ll dig it up soon now. In three months we’d ought to
be there—an’ then we’ll be rich, by Christ! [There is the faint sound of cries
from the beach below. Horne starts and turns to look down again.] They
must ’a’ finished it. [Cates and Jimmy come to the edge to look down.]
Jimmy—[Suddenly—with an eager childish curiosity.] That falla wife
Captain she make strong falla spell on ship, we sail fast, plenty good wind?
Horne—[Contemptuously.] Aye, that’s as near as ye’ll come to it. She’s
makin’ a spell. Ye stay here, Jimmy, and tell us when the Old Man is
comin’. [Jimmy remains looking down. Horne motions Cates to follow him,
front—then in a low voice, disgustedly.] Did ye hear that damn fool nigger?
Cates—[Grumblingly.] Why the hell is the Old Man givin’ him a full
share? One piece o’ it’d be enough for a nigger like him.
Horne—[Craftily.] There’s a way to get rid o’ him—if it comes to that.
He knifed them two, ye remember.
Cates—Aye.
Horne—The two o’ us can take oath to that in any court.
Cates—Aye.
Horne—[After a calculating look into his companion’s greedy eyes—
meaningly.] We’re two sane men, Cates—and the other two to share is a
lunatic and a nigger. The skipper’s showed me where there’s a copy o’ his
map o’ the island locked up in the cabin—in case anything happens to him
I’m to bring back the gold to his woman, he says. [He laughs harshly.]
Bring it back! Catch me! The fool! I’ll be open with ye, Cates. If I could
navigate and find the island myself I wouldn’t wait for a cracked man to
take me there. No, be damned if I would! Me and you’d chance it alone
someway or other.
Cates—[Greedily.] The two o’ us—share and share alike! [Then shaking
his head warningly.] But he’s a hard man to git the best on.
 Horne—[Grimly.] And I be a hard man, too. And he’s not right in his
head. We’ll keep our eyes peeled for a chance. Something may turn up—
and maybe—
Jimmy—[Turning to them.] Captain, he come. [Cates and Horne
separate hastily. Bartlett climbs into sight up the ladder to the platform.
He is breathing heavily but his expression is one of triumphant exultation.]
Bartlett—[Motions with his arms.] Down with ye and git aboard. The
schooner’s got a name now—a name that’ll bring us luck. We’ll sail on this
tide.
Horne—Aye—aye, sir.
Bartlett—I got to wait here till they climb up the path. I’ll be aboard
afore long. See that ye have her ready to cast off by then.
Horne—Aye—aye, sir. [He and Cates disappear down the ladder.
Jimmy lingers, looking sidewise at his Captain.]
Bartlett—[Noticing him—gruffly but almost kindly.] What are ye
waitin’ for?
Jimmy—[Volubly.] That old falla wife belong you, Captain, she make
strong falla spell for wind blow plenty? She catch strong devil charm for
schooner, Captain?
Bartlett—[Scowling.] What’s that, ye brown devil? [Then suddenly
laughing harshly.] Yes—a strong spell to bring us luck. [Roughly.] Git
aboard, ye dog! Don’t let her find ye here with me. [Jimmy disappears
hurriedly down the ladder. Bartlett remains at the edge looking down
after him. There is a sound of voices from the right and presently Mrs.
Bartlett, Sue, Drew and Nat enter, coming around the house from the
rear. Nat and Drew walk at either side of Mrs. Bartlett, who is in a state
of complete collapse, so that they are practically carrying her. Sue follows,
her handkerchief to her eyes. Nat keeps his eyes on the ground, his
expression fixed and gloomy. Drew casts a glance of angry indignation at
the Captain, who, after one indifferent look at them, has turned back to
watch the operations on the schooner below.]
Bartlett—[As they reach the steps of the house—intent on the work
below—makes a megaphone of his hands and shouts in stentorian tones.]
Look lively there, Horne!
Sue—[Protestingly.] Pa!
 Bartlett—[Wheels about. When he meets his daughter’s eyes he
controls his angry impatience and speaks gently.] What d’ye want, Sue?
Sue—[Pointing to her mother who is being assisted through the door—
her voice trembling.] You mustn’t shout. She’s very sick.
Bartlett—[Dully, as if he didn’t understand.] Sick?
Sue—[Turning to the door.] Wait. I’ll be right back. [She enters the
house. As soon as she is gone all of Bartlett’s excitement returns. He
paces up and down with nervous impatience. Nat comes out of the house.]
Nat—[In a tone of anxiety.] Ma seems bad. We can’t do anything. I’m
going for the doctor. [As his father doesn’t seem to hear him—tapping him
on the shoulder, his voice breaking.] Why did you make her do it, Pa? It
was too much for her strength. Wouldn’t anyone else or any other name
have done just as well?
Bartlett—[Impatiently.] No. It had to be.
Nat—When she spoke the words—and fell back in a faint—I thought
she was dead.
Bartlett—[Vaguely.] Weakness. She’ll be all right again after a rest.
[He draws Nat’s attention to the schooner.] Smart lines on that schooner,
boy. She’ll sail hell bent in a breeze. I knowed what I was about when I
bought her.
Nat—[Staring down fascinatedly.] How long will the voyage take?
Bartlett—[Preoccupied.] How long?
Nat—[Insinuatingly.] To get to the island.
Bartlett—Three months at most—with fair luck. [Exultantly.] And I’ll
have luck now!
Nat—Then in six months you may be back—with it?
Bartlett—Aye, with—[Stopping abruptly, turns and stares into his
son’s eyes—angrily.] With what? What boy’s foolishness be ye talkin’?
Nat—[Pleading fiercely.] I want to go, Pa! There’s no good in my
staying here any more. I can’t think of anything but—Oh, why don’t you be
fair and let me sail with you!
Bartlett—[Sternly, to conceal his uneasiness.] Keep clear o’ this, boy,
I’ve warned ye!
 Sue—[Appearing in doorway—indignantly.] Nat! Haven’t you gone for
the doctor yet?
Nat—[Shame-facedly.] I forgot.
Sue—Forgot!
Nat—[Starting off.] I’m going, Sue. [Then over his shoulder.] You won’t
sail before I come back, Pa? [Bartlett does not answer. Nat stands
miserably hesitating.]
Sue—Nat! For heaven’s sake! [Nat hurries off around the corner of the
house, rear. Sue comes to her father who is watching her with a queer,
humble, hunted expression.]
Bartlett—Well, Sue?
Sue—[Her voice trembling.] Oh, Pa, how can you do such terrible
things. How could you drag Ma out of bed at dawn to christen your old boat
—when you knew how sick she’s been!
Bartlett—[Avoiding her eyes.] It’s only weakness. She’ll get well o’ it
soon.
Sue—Pa! How can you say things like that—as if you didn’t care!
[Accusingly.] The way you’ve acted ever since you’ve been home almost,
anyone would think—you hated her!
Bartlett—[Wincing.] No!
Sue—Oh, Pa, what is it that has come between you? Can’t you tell me?
Can’t I help to set things right again?
Bartlett—[Mumblingly.] Nothin’—nothin’ ye kin help—nor me. Keep
clear o’ it, Sue. Danny—ye think o’ him, that’s enough for ye.
Sue—But things can’t go on like this. Don’t you see how it’s killing Ma?
Bartlett—She’ll forget her stubborn notions, now I be sailin’ away.
Sue—But you’re not—not going for a while now, are you?
Bartlett—Ain’t I been sayin’ I’d sail at dawn today? They’re makin’
her ready to cast off. I’m waitin’ for Horne to hail.
Sue—[Looking at him for a moment with shocked amazement.] But—
you can’t mean—right now!
Bartlett—[Keeping his face averted.] Aye—or we’ll miss this tide.
Sue—[Putting her hands on his shoulders and trying to look into his
face.] Pa! You can’t mean that! [His face is set with his obsessed
determination. She lets her hands fall with a shudder.] You can’t be as cruel
as that! Why, I thought, of course, you’d put off—[Wildly.] You have,
haven’t you, Pa? You did tell those men you couldn’t sail when you saw
how sick Ma was, didn’t you—when she fainted down on the wharf?
Bartlett—[Implacably.] I said I was sailin’ by this tide—and sail I
will, by thunder!
Sue—Pa! [Then pleadingly.] When the doctor comes and you hear what
he says—
Bartlett—[Roughly.] I ain’t stoppin’ on his word nor any man’s. I
know what’s best to do. [Intensely.] That schooner’s been fit to sail these
two weeks past. I been waitin’ on her stubborn will [he gestures toward the
house], eatin’ my heart out day and night. Then I swore I’d sail today. I tell
ye, Sue, I got a feelin’ in my bones if I don’t put out now I never will. Aye,
I feel it deep down inside me. [In a tone of superstitious awe.] And when
she christened the schooner—jest to the minute, mind ye!—a fair breeze
sprung up and come down out o’ the land to blow her out to sea—like a
sign o’ good luck.
Sue—[Aroused to angry indignation.] What kind of a man have you
become—to think of such things now! Oh, I can’t believe you’re the same
man who used to be my father!
Bartlett—Sue!
Sue—To talk cold-bloodedly of sailing away on a long voyage when
Ma’s inside—dying for all you seem to know or care! Oh, I hate you when
you’re like this! You’re not the father I love! You’ve changed into someone
else—hateful and cruel—and I hate him, I hate him! [She breaks down,
sobbing hysterically.]
Bartlett—[Who has listened to her with a face suddenly stricken by
fear and torturing remorse.] Sue! Ye don’t know what ye be sayin’, do ye?
Sue—I do! You’re not the same to me any more—or to any of us. I’m
afraid of you. And when you coldly propose to go away—now—I hate you,
yes I do! And I hate those three awful men who make you act this way. I
hate the schooner! I wish she and they were at the bottom of the sea!
Bartlett—[Frenziedly—putting his hand over her mouth to stop her
words.] Stop, girl! Don’t ye dare—
Sue—[Shrinking away from him—frightenedly.] Pa!
 Bartlett—[Bewilderedly, pleading for forgiveness.] Don’t heed that,
Sue—I didn’t mean—ye git me so riled—I’d not hurt ye for all the gold in
the world. But don’t ye talk wrong o’ things ye can’t know on.
Sue—Oh, Pa, what kind of things must they be—when you’re ashamed
to tell them!
Bartlett—I ain’t ashamed. It ain’t that. On’y they be things a girl’s no
call to meddle in. They be men’s business and I be man enough to carry ’em
out alone. Ye’ll know all they be to know—and your Ma and Nat, too—
when I come back from this vige. And the sooner I sail, the quicker I’ll be
back to ye. Oh, ye’ll be glad enough then—when ye see with your own
eyes! Ye’ll bless me then ’stead o’ turning agin me! [Hesitating for a second
—then somberly.] On’y now—till it’s all over and done—ye’d best keep
clear o’ it.
Sue—[Passionately.] I don’t care—I don’t want to know anything about
it. What I do know is that you can’t sail now. Oh, Pa, don’t you see you
can’t? Haven’t you any heart at all? Can’t you see how bad Ma is?
Bartlett—It’s the sight o’ me sickens her. She’ll git better with me
away from her.
Sue—No. She needs you. She doesn’t want you to go. She called your
name just a while ago—the only word she’s spoken since she christened the
ship. Come in to her, Pa! Tell her you won’t go!
Bartlett—[Desperately.] I got to git away from her, I tell ye, Sue!
She’s been houndin’ me ever since I got back—houndin’ me with her
stubborn tongue till she’s druv me mad, a’most! Ye’ve been on’y givin’
thought to her, not me. They’s my side to it, too!
Sue—I’ll talk to her, Pa. She can’t realize she’s hurting you or she
wouldn’t—And then everything will be just the same as it used to be again.
Bartlett—[Shaking his head.] They be too much between. The only
chance for that be my plan—to sail away and come back with—what I be
seekin’. Then she’ll give over her stubborn naggin’—if she’s human
woman. It’s for her sake as much as my own I’m goin’—for her and you
and Nat. [With a sudden return of his old resolution.] I’ve made up my
mind, I tell ye, and in the end ye’ll know I be right. [A hail in Horne’s
voice comes thinly up from the shore below. Bartlett starts, his eyes
gleaming.] Ye hear? It’s Horne hailin’ me to come. They be ready to cast
off. I’ll git aboard. [He starts for the ladder.]
 Sue—Pa! After all I’ve said—without one word of good-bye to Ma!
[Hysterically.] Oh, what can I do, what can I say to stop you! She hasn’t
spoken but that one call for you. She hardly seems to breathe. If it weren’t
for her eyes I’d believe she was dead—but her eyes look for you. She’ll die
if you go, Pa!
Bartlett—No!
Sue—You might just as well kill her now in cold blood as murder her
that way!
Bartlett—[Shaken—raising his hands as if to put them over his ears to
shut out her words—hoarsely.] No! Ye lie! She’ll live till I git back and
all’ll be as it was again!
Drew—[Appearing in the doorway, his face working with grief and
anger—harshly.] Captain Bartlett! [Then lowering his voice as he sees Sue.]
Mrs. Bartlett is asking to see you, Captain, before you go.
Sue—There! Didn’t I tell you, Pa!
Bartlett—[Struggling with himself—dully.] She’s wantin’ to bound me
again, that be all.
Sue—[Seeing him weakening—grasps his hand persuasively.] Pa! Come
with me. She won’t hound you. How silly you are! Come! [Hesitatingly,
head bowed, he follows her toward the door.]
Bartlett—[As he comes to Drew he stops and looks into the young
man’s angry, accusing face. He mutters half mockingly.] So ye, too, be agin
me, Danny?
Drew—[Unable to restrain his indignation.] What man that’s a real man
wouldn’t be against you, sir?
Sue—[Frightenedly.] Danny! Pa!
Bartlett—[In a sudden rage draws back his fist threateningly. Drew
stares into his eyes unflinchingly—Bartlett controls himself with an effort
and lets his arm fall to his side—scornfully.] Big words from a boy, Danny.
I’ll forget them this time—on account o’ Sue. [He turns to her.] I’m goin’ in
to her to please ye, Sue—but if ye think any words that she kin say’ll
change my mind, ye make a mistake—for I be sailin’ out as I planned I
would in spite o’ all hell! [He walks resolutely into the house. Sue follows
him after exchanging a hopeless glance with Danny.]
 Drew—[To himself—with a shudder.] He’s mad, damn him! [He paces
up and down. Horne appears on the ladder from below, followed by
Cates.]
Horne—[Coming forward and addressing Drew.] Is the skipper about?
Drew—[Curtly.] He’s in the house. You can’t speak to him now.
Horne—She’s ready to cast off. I hailed him from below but I ’spect he
didn’t hear. [As Drew makes no comment—impatiently.] If he don’t shake a
leg, we’ll miss the tide. There’s a bit o’ fair breeze, too.
Drew—[Glancing at him resentfully.] Don’t count on his sailing today.
It’s just as likely he’ll change his mind.
Horne—[Angrily.] Change his mind again? After us waitin’ and wastin’
time for weeks! [To Cates in a loud tone so Drew can hear.] What did I tell
ye, Cates? He’s crazy as hell.
Drew—[Sharply.] What’s that?
Horne—I was tellin’ Cates the skipper’s not right in his head [Angrily.]
What man in his senses’d do the way he does?
Drew—[Letting his resentment escape him.] That’s no lie, damn it!
Horne—[Surprised.] Aye, ye’ve seen it, too, have ye? [After a pause.]
Now I axe ye, as a sailor, how’d ye like to be puttin’ out on a vige with a
cracked man for skipper? [Sue comes out of the door, stops with a shudder
of disgust as she sees the two sailors, and stands listening. They do not
notice her presence.]
Drew—It seems to me a crazy voyage all round. What kind of trading is
it you’re to do?
Horne—[Suspiciously.] Ye’ll have to ask the skipper that.
Drew—[With a scornful shrug.] I was forgetting it’s such a dead secret.
That the craziest part, eh? [With sudden interest as if a new idea had come
to him.] But you know all about it, don’t you—what the Captain plans to do
on this voyage—and all that?
Horne—[Dryly.] Aye, as well as himself—but I’m tellin’ no man.
Drew—And I’m not asking. What do you suppose I care about any
sneaking trade deal in the Islands he may have up his sleeve? What I want
to find out is: Do you know enough about this business to make this one
voyage alone and attend to everything—in case the Captain can’t go?
 Horne—[Exchanging a quick glance with Cates—trying to hide his
eagerness.] Aye, I could do as well as any man alive. I’ve been sailin’ this
sea for twenty year or more and I know the Island trade inside and out. He
could trust me for it—and I’d make more money for him than he’s likely to
make with his head out o’ gear. [Then scowling.] On’y trouble is, who’d
Captain her if he ain’t goin’?
Drew—[Disappointedly.] Then you don’t know navigation enough for
that?
Horne—I’ve never riz above bo’sun. [Then after a pause in which he
appears to be calculating something—curiously.] Why d’ye ask me them
questions? [Insinuatingly—almost in a whisper.] It can’t be done ’less we
got an officer like you aboard.
Drew—[Angrily.] Eh? What’re you driving at? D’you think I—
Sue—[Who has been listening with aroused interest.] Danny! [She
comes down to him. Horne and Cates bob their heads respectfully and
move back near the platform. Horne watches Sue and Drew out of the
corner of his eye.] Danny, I’ve been listening to what you were saying, but I
don’t understand. What are you thinking of?
Drew [Excitedly.] I was thinking—Listen, Sue! Seems to me from what
I saw your Pa’s out of his right mind, and, being that way, he’s sure bound
to go unless someone or something steps in to stop him. D’you think your
Ma——?
Sue—[Shaking her head—sadly.] No, I’m afraid anything she says will
only make things worse.
Drew—Then you’ve no hope—? No more have I. Something’s got to be
done to keep him home in spite of himself. Even leaving your Ma out of it,
he’s not in any fit state to take a ship to sea; and I was thinking if we could
fix it some way so that fellow Horne could take her out on this voyage—
Sue—But, Danny, Pa’d never give in to that.
Drew—I wasn’t thinking he would. It’d have to be done on the sly. We
—you’d have to give the word—and keep him in the house somehow—and
then when he did come out it’d be too late. The schooner’d be gone.
Sue—[Disturbed, but showing that this plan has caught her mind.] But
—would it be fair?—he’d never forgive—
 Drew—When he’s back in his right mind again, he would. [Earnestly.]
I’m not fond of lying and tricks myself, Sue, but this is a case where you
can’t pick and choose. You can’t let him sail, and wreck his ship and
himself in the bargain, likely. Then, there’s your Ma——
Sue—No, no, we can’t let him. [With a glance at Horne and Cates.]
But I don’t trust those men.
Drew—No more do I; but it would be better to chance them than—
[Suddenly interrupting himself—with a shrug of his shoulders.] But there’s
no good talking of that. I was forgetting. None of them can navigate. They
couldn’t take her out.
Sue—But didn’t I hear him say—if they had an officer on board—like
you—
Drew—Yes, but where’ll you find one at a second’s notice?
Sue—[Meaningly.] And you told me, didn’t you, that you’d just got your
master’s papers. Then you’re a captain by rights.
Drew—[Looking at her with stunned astonishment.] Sue! D’you mean
—
Sue—[A light coming over her face.] Oh, Danny, we could trust you!
He’d trust you! And after he’d calmed down I know he wouldn’t mind so
much. Oh, Danny, it’ll break my heart to have you go, to send you away
just after you’ve come back. But I don’t see any other way. I wouldn’t ask
—if it wasn’t for Ma being, this way—and him—Oh, Danny, can’t you see
your way to do it—for my sake?
Drew—[Bewilderedly.] Why, Sue, I—I never thought—[Then as he sees
the look of disappointment which comes over her face at his hesitancy—
resolutely.] Why sure, Sue, I’ll do it—if you want me to. I’ll do it if it can
be done. But we’ve got to hustle. You stand in the door, Sue. You’ve got to
keep him in the house some way if he aims to come out. And I’ll talk to
them. [Sue goes to the doorway. Drew goes over to Horne and Cates.]
Sue—[After listening.] He’s still in with Ma. It’s all right.
Drew—[To Horne, with forced joviality.] How would you like me for
skipper on this one voyage?
Horne—[Craftily.] Ye got your skipper’s papers all reg’lar?
Drew—Yes, that part of it’s all right and square. Listen here. Miss Sue’s
decided her father isn’t in a fit state to Captain this trip. It’d mean danger
for him and the schooner—and for you.
Horne—That’s no lie.
Cates—[To Horne protestingly.] But if we git ketched the Old Man’ll
take it out o’ our hides, not his’n.
Horne—[Savagely.] Shut up, ye fool! [To Drew, craftily.] Cates is right,
jest the same. Ye are as good as his married son and she’s his daughter.
He’d not blame you if things went wrong. He’d take it out on us.
Drew—[Impatiently.] I’ll shoulder all that risk, man!
Sue—[Earnestly.] No harm will come to any of you, I promise you. This
is all my plan, and I’ll tell my father I’m alone to blame.
Horne—[In the tone of one clinching a bargain.] Then we’ll chance it.
[Warningly.] But it’s got to be done smart, sir. Ye’d best look lively.
Drew—I’ve got to get my dunnage. I’ll be right back and we’ll tumble
aboard. [He goes to the door.] Hold him, Sue, on some excuse if he’s
coming. Only a second now and it’ll all be safe. [He goes into the house.
She follows him in.]
Cates—[With stupid anger.] This is a hell o’ a mess we’re gettin’ in, if
ye axe me.
Horne—And I tell ye it’s a great stroke o’ luck. It couldn’t o’ come out
better.
Cates—He’ll be aboard to spy on us.
Horne—Let him! What does he know? He thinks we’re goin’ tradin’,
and there’s no one to tell him diff’rent but me.
Cates—He’ll know better afore long. He’ll s’pect—
Horne—’Bout the gold? He ain’t that kind. He’s a soft young swab o’ a
lady steamer’s mate. Leave me to fool him. And when the time comes to git
rid o’ him, I’ll find a means some way or other. But can’t ye see, ye fool,
it’s luck to have him with us till we git clear o’ civilized ports? He kin
navigate and he’s got skipper’s papers that’ll come in handy if there’s any
trouble. And if anythin’ goes wrong at the start and we’re brung back, him
and the girl’ll take the blame.
Cates—[Stupidly.] S’long as he don’t git no share o’ the gold——
Horne—[Contemptuously.] Share, ye dumbhead! I’d see him in hell first
—and send him there myself. [Drew comes out of the house carrying his
bag which he hands to Cates. Sue follows him.]
Drew—Look lively now! Let’s hustle aboard and get her under way.
Horne—Aye—aye, sir. [He and Cates clamber hurriedly down the
ladder.]
Sue—[Throwing her arms around his neck and kissing him.] Good-bye,
Danny. It’s so fine of you to do this for us! I’ll never forget——
Drew—[Tenderly.] Ssssh! It’s nothing, Sue.
Sue—[Tearfully.] Oh, Danny, I hope I’m doing right! I’ll miss you so
dreadfully! But you’ll come back just as soon as you can—
Drew—Of course!
Sue—Danny! Danny! I love you so!
Drew—And I guess you know I love you, don’t you? [Kisses her.] And
we’ll be married when I come back this time sure?
Sue—Yes—yes—Danny—sure!
Drew—I’ve got to run. Good-bye, Sue.
Sue—Good-bye, dear. [They kiss for the last time and he disappears
down the ladder. She stands at the top, sobbing, following him with her
eyes. Nat comes around the house from the rear and goes to the front door.]
Nat—[Seeing his sister.] Sue! He hasn’t gone yet, has he? [She doesn’t
hear him. He hesitates in the doorway for a moment, listening for the sound
of his father’s voice from inside. Then, very careful to make no noise, he
tiptoes carefully into the house. Sue waves her hand to Drew who has
evidently now got aboard the ship. Then she covers her face with her hands,
sobbing. Nat comes out of the house again and goes to his sister. As she
sees him approaching, she dries her eyes hastily, trying to smile.]
Sue—Did you get the doctor, Nat?
Nat—Yes, he’s coming right away, he promised. [Looking at her face.]
What—have you been crying?
Sue—No. [She walks away from the edge of the cliff, drawing him with
her.]
Nat—Yes, you have. Look at your eyes.
Sue—Oh, Nat, everything’s so awful! [She breaks down again.]
Nat—[Trying to comfort her in an absentminded way.] There, don’t get
worked up. Ma’ll be all right as soon as the doctor comes. [Then curiously.]
Pa’s inside with her. They were arguing—have they made it up, d’you
think?
Sue—Oh, Nat, I don’t know. I don’t think so.
Nat—The strain’s been too much for him—waiting and hiding his secret
from all of us. What do you suppose it is, Sue—ambergris?
Sue—[Wildly.] I don’t know and I don’t care! [Noticing the strange
preoccupied look in his eyes—trying to bring him back to earth—
scornfully.] Ambergris! Are you going crazy? Don’t you remember you’ve
always been the first one to laugh at that silly idea?
Nat—Well, there’s something—— [Starts for the platform. Sue does her
best to interpose to hold him back.] Are they all ready on the schooner.
He’ll have to hurry if she’s going to sail on this tide. [With sudden passion.]
Oh, I’ve got to go! I can’t stay here! [Pleadingly.] Don’t you think, Sue, if
you were to ask him for me he’d—You’re the only one he seems to act sane
with or care about any more.
Sue—No! I won’t! I can’t!
Nat—[Angrily.] Haven’t you any sense? Wouldn’t it be better for
everyone if I went in his place?
Sue—No. You know that’s a lie. Ma would lose her mind if you went.
Nat—And I’ll lose mine if I stay! [Half aware of Sue’s intention to keep
him from looking down at the schooner—irritably.] What are you holding
my arm for, Sue? I want to see what they’re doing. [He pushes her aside
and goes to the platform—excitedly.] Hello, they’ve got the fores’l and
mains’l set. They’re setting the stays’l. [In amazement.] Why—they’re
casting off! She’s moving away from the wharf! [More and more excitedly.]
I see four of them on board! Who—who is that, Sue?
Sue—It’s Danny.
Nat—[Furiously.] Danny! What right has he—when I can’t! Sue, call
Pa! They’re sailing, I tell you, you little fool!
Sue—[Trying to calm him—her voice trembling.] Nat! Don’t be such a
donkey! Danny’s only going a little way—just trying the boat to see how
she sails while they’re waiting for Pa.
Nat—[Uncertainly.] Oh. [Then bitterly.] I was never allowed to do even
that—his own son! Look, Sue, that must be Danny at the stern waving.
 Sue—[Brokenly.] Yes. [She waves her handkerchief over her head—then
breaks down, sobbing again. There is the noise of Bartlett’s voice from
inside and a moment later he appears in the doorway. He seems terribly
shattered, at the end of his tether. He hesitates uncertainly, looking about
him wildly as if he didn’t know what to do or where to go.]
Sue—[After one look at his face, runs to him and flings her arms about
his neck.] Pa! [She weeps on his shoulder.]
Bartlett—Sue, ye did wrong beggin’ me to see her. I knowed it’d do
no good. Ye promised she’d not hound me——“Confess,” she says—when
they be naught to tell that couldn’t be swore to in any court. “Don’t go on
this vige,” she says, “there be the curse o’ God on it.” [With a note of
baffled anguish.] She kin say that after givin’ the ship her own name! [With
wild, haggard defiance.] But curse or no curse, I be goin’! [He moves
toward the platform, Sue clinging to his arm.]
Sue—[Frightenedly.] Pa! Go back in the house, won’t you?
Bartlett—I be sorry to go agin your will, Sue, but it’s got to be. Ye’ll
know the reason some day—and be glad o’ it. And now good-bye to ye.
[With a sudden strange tenderness he bends and kisses his daughter. Then
as she seems about to protest further, his expression becomes stern and
inflexible.] No more o’ talk, Sue! I be bound out. [He takes her hand off his
arm and strides to the platform. One look down at the harbor and he stands
transfixed—in a hoarse whisper.] What damned trick be this? [He points to
the schooner and turns to Nat bewilderedly.] Ain’t that my schooner, boy—
the Sarah Allen—reachin’ toward the p’int?
Nat—[Surprised.] Yes, certainly. Didn’t you know? Danny’s trying her
to see how she sails while they’re waiting for you.
Bartlett—[With a tremendous sigh of relief.]
Aye. [Then angrily.] He takes a lot o’ rope to himself without askin’
leave o’ me. Don’t he know they’s no time to waste on boy’s foolin’? [Then
with admiration.] She sails smart, don’t she, boy? I knowed she’d show a
pair o’ heels.
Nat—[With enthusiasm.] Yes, she’s a daisy! Say, Danny’s taking her
pretty far out, isn’t he?
Bartlett—[Anxiously.] He’d ought to come about now if he’s to tack
back inside the p’int. [Furiously.] Come about, damn ye! The swab! That’s
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