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| <center>'''<u>Riqin</u>'''</center> | | <center>'''<u>Tofārim mostātān</u>'''</center> |
| <u>Fausto</u> <u>Ruis</u> krāb ud rā vybim fa, tȳn byl dī krābunbimmeś stā sty, tȳn tykmeś qoty rok ońo gyb fa ī tȳn tykmeś xupty rok on nat riqin maj. Tȳn bōlbāccīn xo nōbim sty. Tȳn dī byl ta drugbly ǵa ī do tȳn bā sty ȳt tȳn qem la tosnā sty kra ī do jē tȳn bā sty. Tȳn qem a nat tosnā sty kra dī mā nū trojkȳt la ē sty ȳt mā as trojkȳt la bōlbāc xo no ē sty, qem la vidmēm sty. Tȳn qem la unūmuk sty dī mā as sryńmeś la nat ē ǵa.
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| Tȳn krābunbimmeś byltopy bim fa. Tȳn mēūxcīn xo nōbim sty, tsēd o le tȳn topiǵ sty, cin bā le ńik sryńmeś ta drugbly ǵa. Smo kahmeś no ē sty, tsēd fe le tȳn jūn i snāsy sty, qem no mēmvid sty. Tȳn kahmeś unbim fa ī tȳn xū ōw fa. Tȳn kahmeś dī ēmmor i tykmeś mar sty dī toūlmor tosnā fa. Tȳn la xup artsēd fe asas vid sty. <u>Fausto</u> sna sty, tȳn tykcin as nat vid sty ā, natjēētān le xupty rok saw ǵa.
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| <u>Fausto</u> xū ōw fa ī tȳn toūlmor cak fa kōm. Tȳn tykmeś ty i tyqo i xupty cascā on cak sty. Pōlcas saw ǵa ī toūlmor tȳn nafatomī rē. <u>Fausto</u> ńoqol ādef ī tȳn toūlmor hāru fa. Tȳn ēmmor jē uptsēd hāru fa ȳt do nafanūtor. Tȳn la nat qin fa. Tȳn la tȳn nat ka, tȳn wū tryk sty des. Tȳn la tȳn nafatomī sty.
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| Ēńim <u>Fausto</u> ig fa ī tȳn kahmeś vybim fa, dān o le tȳn trojkȳtxep udbejwor sty. "Tyk vranvran ślekīn" tȳn mī fa "Mo le ul unūmuk fa, ul tyk byl ud wūprīc xupty rok ońo vēbim fa ā ī ul wūprīc nat riqin maj ā.
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| Tȳn mēūxcīn xo mēūx toemeś to nōbim. Dān o le tȳn mēūx toemeś dūbim fa, tȳn unūmuk fa, tȳn wū drug prīc par nat riqin maj. Tokīnmeś toemeś stā. Tsēd o le tȳn tokīnmeś topiǵ sty, <u>Fausto</u> <u>Ruis</u> nu unūmuk fa, wū nārmeś xupty rok ońo faē fa.
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| Xupty rok ońo le <u>Fausto</u> <u>Ruis</u> ā dīn dī plyply snāsy pejmor ā tomī sōl. Tȳn dīn dī plyply snāsy tokīnmeś la yl ta pej fa, tȳn <u>Landyn</u> ā, <u>Niūjōrkysiti</u> ā, <u>Maskyva</u> ā, <u>Buenosajres</u> ā, <u>Tōkiō</u> ā i <u>Sidni</u> ā stā dī tokīnmeś yl ta pej sōl, tȳn qem bim sty dī ńikmeś le vranvran quim unbimoh la sryńnēm sōl. Dān śi le tȳn la tȳn dī pejekīnkȳt piǵ fa, tȳn la tȳ de ta klāp sōl. Tsēd o le tȳn tȳn dī snāsytān dī fīp dūbim fa, <u>Fausto</u> <u>Ruis</u> abce fa, tȳn gybbyl fu ta riqin fa. Tykmeś le tȳn vēl pejekīnkȳt byl dī tokīnmeś yl fu ta pej fa des.
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| Pejekīnkȳt ā ta rū fa ī ńik unbimoh ā ir cas sī frinkreś fa. Qur la vran tokīnmeś pejekīnkȳt dī ān o bim fa. Tykmeś le tȳn la vēlvēl <u>Fausto</u> <u>Ruis</u> fu ta piǵ fa ro, tsēd o le tȳn gybbyl vor pej sty.
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| Ńikvran ta nasvūk sty, dān o le <u>Fausto</u> tokīnxubemeś unbim. Tȳn tȳn dī plyply snasy pejkȳt pej kōm. Dān o le pejkȳt kraj fa, nanvran klāp sty. Ply bāsy <u>Fausto</u> cak fa ī tȳn drug pejkȳt pej kōm. Tyk pejkȳt dī kraj o le ńikvran no nasvūk sty ȳt tȳn la uptsēd bū i būśī kōm. <u>Fausto</u> row fa, tȳn bū xupsvūk fa ā ī tȳn drug pejkȳt vīvī pej kōm. Ȳt do plyply śle sty. Dān o le tȳn vīvī pej sty, vranvran mēmcin vīvī bū sty. Tȳk dān o le ńakvran tȳn <u>tomat</u> kē fa, drug ńakvran tȳn tow ran kē fa ī drug ńakvran tȳn as būf kē fa. Kō le tow plod la i ūr la i as ślesnōsim būf la klōjpād kōm. Ēńēńim <u>Fausto</u> tokīnxubemeś i tokīnmeś favybim fa. Tȳn bul ud nār ān o vēbim fa ī tȳn kāǵ fa, tȳn tykmeś nat fu ta riqin maj vol.
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| Ȳt <u>Fausto</u> mīcin xupty rok śi drugskyt fa. Tȳn mo asbly sty i tȳn dōm riqin fa des, tȳn tȳn dī gybbyl piǵvor fa. Ȳt tsēd o le tȳn kahmeś stā sty, tȳn toenēm fa, mā dō la faēor nat drugbly ǵa. Tȳn abce fa, tȳn tokīnmeś unbim fa. Dān o le tȳn unbim sty, tȳn unbimohmeś ā stā sty dī unbimohmor piǵ fa. Unbimohmor mēm vran xupty rok ońo fe. Tȳn tȳn eh fa ȳt tanvran nanqem kāǵ fa ī tȳn tȳn nafatomī fa. "Tȳn no mēm" <u>Fausto</u> mī fa. Tȳn tokīnmeś unbim fa ī tȳn tokīnxubemeś unbim fa. Tȳn mī sty, tȳn xupty rok ońo dī fabōim bū śe sty kra.
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| Tȳn ȳń cūv fa, ī tȳn tokīnmeś ud vybim fa. Tȳn abce fa, tȳn tȳn dī gybdōm yrpiǵ fa vol. Tȳn nār dōm un qoty rok ońo gyb fa. Tsēd o le tȳ tȳn dī as dōm yrbim sty, tȳn dȳrlān ycbim fa nec. Tȳn tykmeś dē bā ta ēh sōl. Tȳn ńakmā tanvran piǵ fa, tȳn la mēmmā rok tȳn fe smel ǵa ī tȳn mī sty, tȳn tȳn la tosnā fa kra ā. Tȳn tȳn la to bim fa, tȳn tȳn la ehkāǵvor fa ȳt tȳn la jē tȳn nafatomī fa. Tȳn as srynmeś la xo tȳn dī dōm yr nōbim. Srynmeś la nat drugbly ǵa. Vranvran jē nat drugbly ǵa ȳt tȳn la jē tȳn nafatomī fa.
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| Tȳn ply ēńim i abēhsy cūv sty ī tȳn cīn xo ēńhā fa kōm: "Ul vēl <u>Fausto</u> <u>Ruis</u>, tsāl dī wa śē maj dī vēlvēl pejmor". Nanvran tȳn toenēm fa. Tȳn ēńhā rē: "Ma la ul nat snā lo? Ma la un nat tosnā sty lo?" Nanvran do toenēm fa.
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| Dān o le tȳn tȳn dī as dōm he dūqin fa, tȳn ā ilcin bā fa. Tȳn ā vidsar dī sāsvīd wa dōm vy ē sty. "He dā" <u>Fausto</u> mī fa "ńakvran tȳn dī pōs enēm fa kra. Tȳn la sāsvīd sāsfaskyt fa ī tȳn la ul natjē kāǵ maj".
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| <u>Fausto</u> yrbim fa, tȳn sāsvīd dōbdōb piǵvor fa. Lākȳt sāsvīd dī dōl cā stā sty. "<u>Fausto</u> <u>Ruis</u>" do ā le lā fa "Pejmor". <u>Fausto</u> abēhsy cūv fa, prīc par le "Pejmor" ā lā fa a nat "Dīn dī dōbdōb pejmor" ā lā fa ȳt toni le tȳn sāsvīd skyt fa. Drug ńakqem ā lā fa. Tȳn qem hentopiǵ fa. Tȳn dī gybbultsēd ē, qoty rok ońo le. A drug ńakqem ē sty, tȳn dī cumbultsēd ē sty. Xup qārtsēd ońo le.
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| ''Do ā le <u>Kris</u> <u>Rowsej</u> ta lā fa.''
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| '''Syllabicated transcription:''' | | '''Syllabicated transcription:''' |
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| <center>'''<u>Ri∙qin</u>'''</center> | | <center>'''<u>To∙fār∙im mo∙stā∙tān</u>'''</center> |
| <u>Fa∙u∙sto</u> <u>Ru∙is</u> krāb ud rā vy∙bim fa, tȳn byl dī krāb∙un∙bim∙meś stā sty, tȳn tyk∙meś qo∙ty rok o∙ńo gyb fa ī tȳn tyk∙meś xup∙ty rok on nat ri∙qin maj. Tȳn bōl∙bāc∙cīn xo nō∙bim sty. Tȳn dī byl ta drug∙bly ǵa ī do tȳn bā sty ȳt tȳn qem la to∙snā sty kra ī do jē tȳn bā sty. Tȳn qem a nat to∙snā sty kra dī mā nū troj∙kȳt la ē sty ȳt mā as troj∙kȳt la bōl∙bāc xo no ē sty, qem la vid∙mēm sty. Tȳn qem la un∙ūm∙uk sty dī mā as sryń∙meś la nat ē ǵa.
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| Tȳn krāb∙un∙bim∙meś byl∙to∙py bim fa. Tȳn mē∙ūx∙cīn xo nō∙bim sty, tsēd o le tȳn to∙piǵ sty, cin bā le ńik sryń∙meś ta drug∙bly ǵa. Smo kah∙meś no ē sty, tsēd fe le tȳn jūn i snā∙sy sty, qem no mēm∙vid sty. Tȳn kah∙meś un∙bim fa ī tȳn xū ōw fa. Tȳn kah∙meś dī ēm∙mor i tyk∙meś mar sty dī to∙ūl∙mor to∙snā fa. Tȳn la xup ar∙tsēd fe as∙as vid sty. <u>Fa∙u∙sto</u> sna sty, tȳn tyk∙cin as nat vid sty ā, nat∙jē∙ē∙tān le xup∙ty rok saw ǵa.
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| <u>Fa∙u∙sto</u> xū ōw fa ī tȳn to∙ūl∙mor cak fa kōm. Tȳn tyk∙meś ty i ty∙qo i xup∙ty cas∙cā on cak sty. Pōl∙cas saw ǵa ī to∙ūl∙mor tȳn na∙fa∙to∙mī rē. <u>Fa∙u∙sto</u> ńo∙qol ād∙ef ī tȳn to∙ūl∙mor hā∙ru fa. Tȳn ēm∙mor jē up∙tsēd hā∙ru fa ȳt do na∙fa∙nūt∙or. Tȳn la nat qin fa. Tȳn la tȳn nat ka, tȳn wū tryk sty des. Tȳn la tȳn na∙fa∙to∙mī sty.
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| Ēń∙im <u>Fa∙u∙sto</u> ig fa ī tȳn kah∙meś vy∙bim fa, dān o le tȳn troj∙kȳt∙xep ud∙bej∙wor sty. "Tyk vran∙vran śle∙kīn" tȳn mī fa "Mo le ul un∙ūm∙uk fa, ul tyk byl ud wū∙prīc xup∙ty rok o∙ńo vē∙bim fa ā ī ul wū∙prīc nat ri∙qin maj ā.
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| Tȳn mē∙ūx∙cīn xo mē∙ūx to∙e∙meś to nō∙bim. Dān o le tȳn mē∙ūx to∙e∙meś dū∙bim fa, tȳn un∙ūm∙uk fa, tȳn wū drug prīc par nat ri∙qin maj. To∙kīn∙meś to∙e∙meś stā. Tsēd o le tȳn to∙kīn∙meś to∙piǵ sty, <u>Fa∙u∙sto</u> <u>Ru∙is</u> nu un∙ūm∙uk fa, wū nār∙meś xup∙ty rok o∙ńo fa∙ē fa.
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| Xup∙ty rok o∙ńo le <u>Fa∙u∙sto</u> <u>Ru∙is</u> ā dīn dī ply∙ply snā∙sy pej∙mor ā to∙mī sōl. Tȳn dīn dī ply∙ply snā∙sy to∙kīn∙meś la yl ta pej fa, tȳn <u>Lan∙dyn</u> ā, <u>Ni∙ū∙jōr∙ky∙si∙ti</u> ā, <u>Mas∙ky∙va</u> ā, <u>Bu∙e∙nos∙aj∙res</u> ā, <u>Tō∙ki∙ō</u> ā i <u>Sid∙ni</u> ā stā dī to∙kīn∙meś yl ta pej sōl, tȳn qem bim sty dī ńik∙meś le vran∙vran qu∙im un∙bim∙oh la sryń∙nēm sōl. Dān śi le tȳn la tȳn dī pej∙e∙kīn∙kȳt piǵ fa, tȳn la tȳ de ta klāp sōl. Tsēd o le tȳn tȳn dī snā∙sy∙tān dī fīp dū∙bim fa, <u>Fa∙u∙sto</u> <u>Ru∙is</u> ab∙ce fa, tȳn gyb∙byl fu ta ri∙qin fa. Tyk∙meś le tȳn vēl pej∙e∙kīn∙kȳt byl dī to∙kīn∙meś yl fu ta pej fa des.
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| Pej∙e∙kīn∙kȳt ā ta rū fa ī ńik un∙bim∙oh ā ir cas sī frin∙kreś fa. Qur la vran to∙kīn∙meś pej∙e∙kīn∙kȳt dī ān o bim fa. Tyk∙meś le tȳn la vēl∙vēl <u>Fa∙u∙sto</u> <u>Ru∙is</u> fu ta piǵ fa ro, tsēd o le tȳn gyb∙byl vor pej sty.
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| Ńik∙vran ta na∙svūk sty, dān o le <u>Fa∙u∙sto</u> to∙kīn∙xub∙e∙meś un∙bim. Tȳn tȳn dī ply∙ply sna∙sy pej∙kȳt pej kōm. Dān o le pej∙kȳt kraj fa, nan∙vran klāp sty. Ply bā∙sy <u>Fausto</u> cak fa ī tȳn drug pej∙kȳt pej kōm. Tyk pej∙kȳt dī kraj o le ńik∙vran no na∙svūk sty ȳt tȳn la up∙tsēd bū i bū∙śī kōm. <u>Fa∙u∙sto</u> row fa, tȳn bū xup∙svūk fa ā ī tȳn drug pej∙kȳt vī∙vī pej kōm. Ȳt do ply∙ply śle sty. Dān o le tȳn vī∙vī pej sty, vran∙vran mēm∙cin vī∙vī bū sty. Tȳk dān o le ńak∙vran tȳn <u>to∙mat</u> kē fa, drug ńak∙vran tȳn tow ran kē fa ī drug ńak∙vran tȳn as būf kē fa. Kō le tow plod la i ūr la i as śle∙snōs∙im būf la klōj∙pād kōm. Ēń∙ēń∙im <u>Fa∙u∙sto</u> to∙kīn∙xub∙e∙meś i to∙kīn∙meś fa∙vy∙bim fa. Tȳn bul ud nār ān o vē∙bim fa ī tȳn kāǵ fa, tȳn tyk∙meś nat fu ta ri∙qin maj vol.
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| Ȳt <u>Fa∙u∙sto</u> mī∙cin xup∙ty rok śi drug∙skyt fa. Tȳn mo as∙bly sty i tȳn dōm ri∙qin fa des, tȳn tȳn dī gyb∙byl piǵ∙vor fa. Ȳt tsēd o le tȳn kah∙meś stā sty, tȳn to∙e∙nēm fa, mā dō la fa∙ē∙or nat drug∙bly ǵa. Tȳn ab∙ce fa, tȳn to∙kīn∙meś un∙bim fa. Dān o le tȳn un∙bim sty, tȳn un∙bim∙oh∙meś ā stā sty dī un∙bim∙oh∙mor piǵ fa. Un∙bim∙oh∙mor mēm vran xup∙ty rok o∙ńo fe. Tȳn tȳn eh fa ȳt tan∙vran nan∙qem kāǵ fa ī tȳn tȳn na∙fa∙to∙mī fa. "Tȳn no mēm" <u>Fa∙u∙sto</u> mī fa. Tȳn to∙kīn∙meś un∙bim fa ī tȳn to∙kīn∙xub∙e∙meś un∙bim fa. Tȳn mī sty, tȳn xup∙ty rok o∙ńo dī fa∙bō∙im bū śe sty kra.
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| Tȳn ȳń cūv fa, ī tȳn to∙kīn∙meś ud vy∙bim fa. Tȳn ab∙ce fa, tȳn tȳn dī gyb∙dōm yr∙piǵ fa vol. Tȳn nār dōm un qo∙ty rok o∙ńo gyb fa. Tsēd o le tȳ tȳn dī as dōm yr∙bim sty, tȳn dȳr∙lān yc∙bim fa nec. Tȳn tyk∙meś dē bā ta ēh sōl. Tȳn ńak∙mā tan∙vran piǵ fa, tȳn la mēm∙mā rok tȳn fe smel ǵa ī tȳn mī sty, tȳn tȳn la to∙snā fa kra ā. Tȳn tȳn la to bim fa, tȳn tȳn la eh∙kāǵ∙vor fa ȳt tȳn la jē tȳn na∙fa∙to∙mī fa. Tȳn as sryn∙meś la xo tȳn dī dōm yr nō∙bim. Sryn∙meś la nat drug∙bly ǵa. Vran∙vran jē nat drug∙bly ǵa ȳt tȳn la jē tȳn na∙fa∙to∙mī fa.
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| Tȳn ply ēń∙im i ab∙ēh∙sy cūv sty ī tȳn cīn xo ēń∙hā fa kōm: "Ul vēl <u>Fa∙u∙sto</u> <u>Ru∙is</u>, tsāl dī wa śē maj dī vēl∙vēl pej∙mor". Nan∙vran tȳn to∙e∙nēm fa. Tȳn ēń∙hā rē: "Ma la ul nat snā lo? Ma la un nat to∙snā sty lo?" Nan∙vran do to∙e∙nēm fa.
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| Dān o le tȳn tȳn dī as dōm he dū∙qin fa, tȳn ā il∙cin bā fa. Tȳn ā vid∙sar dī sās∙vīd wa dōm vy ē sty. "He dā" <u>Fa∙u∙sto</u> mī fa "ńak∙vran tȳn dī pōs e∙nēm fa kra. Tȳn la sās∙vīd sās∙fa∙skyt fa ī tȳn la ul nat∙jē kāǵ maj".
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| <u>Fa∙u∙sto</u> yr∙bim fa, tȳn sās∙vīd dōb∙dōb piǵ∙vor fa. Lā∙kȳt sās∙vīd dī dōl cā stā sty. "<u>Fa∙u∙sto</u> <u>Ru∙is</u>" do ā le lā fa "Pej∙mor". <u>Fa∙u∙sto</u> ab∙ēh∙sy cūv fa, prīc par le "Pej∙mor" ā lā fa a nat "Dīn dī dōb∙dōb pej∙mor" ā lā fa ȳt to∙ni le tȳn sās∙vīd skyt fa. Drug ńak∙qem ā lā fa. Tȳn qem hen∙to∙piǵ fa. Tȳn dī gyb∙bul∙tsēd ē, qo∙ty rok o∙ńo le. A drug ńak∙qem ē sty, tȳn dī cum∙bul∙tsēd ē sty. Xup qār∙tsēd o∙ńo le.
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| ''Do ā le <u>Kris</u> <u>Row∙sej</u> ta lā fa.''
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| '''English original text''': | | '''English original text''': |
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| <center>'''''The comeback'''''</center> | | <center>'''''A dangerous situation'''''</center> |
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| ''Fausto Ruiz got off the boat at the port of the city where he had been born fifty years ago, and to which he had not returned for twenty years. He walked along the seafront, surprised by how much his hometown had changed, and also by how much of it he could still recognise. There were lots of new buildings up on the hills around the city now, buildings which he didn’t recognise. Yet many of the old buildings along the sea were exactly the same as he remembered them, although many of the old shops he remembered were there no more.''
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| ''He walked away from the port and into the centre of the city. He walked up the main road and saw how all the shops had changed, but that there was still one small café there which was the same as it had been when he was young and famous. He walked into the café and sat down at one of the tables. He recognised the owner of the café behind the bar as well as the waiter who was working there. They both looked much, much older. Fausto felt certain that he didn’t look as old as they did, even though they were all twenty years older now.''
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| ''Fausto sat at his table and waited for the waiter to come to him. He sat there for ten, fifteen, twenty minutes. Half an hour passed and the waiter continued to ignore him. Fausto raised his arm and shouted to the waiter, then to the owner of the café behind the bar, but it was useless. They didn’t come and ask him what he wanted. They were ignoring him.''
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| ''Angry, Fausto got up and walked out of the café, slamming the door behind him. Such ignorant people, he thought. Now I remember why I left this town twenty years ago and why I never came back.''
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| ''He walked along the main street as far as the main square in the town and when he arrived at the main square he remembered the other reason why he had never come back. In the main square of the town there was the theatre. As he looked at the theatre, Fausto Ruiz had a terrible memory of what had happened there twenty years ago.''
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| ''Twenty years ago, Fausto Ruiz had been the most famous singer in the world. He had sung in all of the most famous opera houses in the world. He had sung in London, New York, Moscow, Buenos Aires, Tokyo and Sydney. Everywhere he went, people paid large sums of money for tickets, then when they saw him sing they clapped and applauded and cheered for hours. When he was at the height of his fame, Fausto Ruiz decided to come back to his home town and to sing in a triumphant concert in the theatre on the main square of the town.''
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| ''The concert was announced and all the tickets sold out within a few hours. The evening of the concert, thousands of people crowded into the theatre to see the legendary Fausto Ruiz sing in the theatre of his hometown.''
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| ''There was silence as Fausto walked onto the stage. Then he began to sing one of his best-known songs. And at the end of the song, there was just silence. Nobody clapped, nobody applauded, nobody cheered. Fausto waited, very surprised for a moment, then started to sing another song. At the end of this song, there was silence for a moment, then the people began to boo and to hiss. Fausto tried to cover the noise of the booing and hissing by singing another song, very loudly this time. But it got worse. The louder he sang, the louder the boos and hisses became. Then someone threw a tomato at him. Then someone else threw a rotten orange at him. Then someone else threw an old shoe at him. Soon, there was a rain of rotten fruit and vegetables and smelly old shoes falling down on the great Fausto Ruiz. Fausto was angry. Fausto was furious. He stormed off the stage and out of the theatre. He left his hometown that night, and he said that he would never, ever go back there ever again.''
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| ''But twenty years later, Fausto Ruiz changed his mind. He was getting old now, he thought, and he wanted to go back home again, to see the town where he had grown up. But in the café, he realised that perhaps not much had really changed. He decided to walk into the theatre. As he walked in he saw the man selling tickets in the box office. It was the same man from twenty years ago. Fausto said hello to him but the man said nothing and ignored him. "Still the same" thought Fausto. He walked into the theatre and got up onto the empty stage. He thought he could hear the terrible booing and hissing of that night twenty years ago.'' | | ''Sean didn't know what to do. The situation seemed too risky. But he was thinking that he had to do something. He began to move quietly. He didn't want to be noticed. His enemies were talking at a few meters from him, and they seemed enough distracted. He had only a knife and couldn't fight against five people. He could barely imagine what they would have done to him if they caught him. The building had been half destroyed by bombs, but there still were only two ways out, one right in front of his enemies and the other one on the other side. He silently moved towards the other exit, hoping to not draw their attention with any noise.'' |
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| ''He felt sad, and left the theatre and decided to go and visit the house where he had been born fifty years ago. He walked all the way across the town, expecting to be recognised by people. When he got close to his old house he walked through the park where he had played as a small child. He saw some men there, the same age as he was, and thought that he remembered them. They were people who had been his friends when he was at school. He walked over to them to say hello, but they too ignored him. He walked past the old shops near his house. They hadn’t changed. There were still the same people there, all of whom ignored him.'' | | ''The room was not big, and he quickly reached the exit. He was about to go out, when he noticed a big armoured truck that was coming towards the building. He quickly hid himself behind a pile of rubble, keeping an eye on the door. The truck stopped just in front of the door, and many enemy soldiers got out. His heart was beating wildly. How many soldiers were getting out of the truck? He could count twelve of them, but they were surely more. He began to feel lost, but, luckily for him, the soldiers didn't get in the building.'' |
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| ''He was so angry and so disappointed now that he began to shout as he walked along the streets. "I am the great Fausto Ruiz!!! The greatest singer the world has ever heard!!!" Nobody took any notice of him. He continued "Don’t you know me??? Don’t you recognise me???" Nobody took any notice.'' | | ''The enemy soldiers gathered on the other side of the building and Sean started to plan an escape route. He knew very well the area, this was his land and even if only a few things were as they had been before the war, he knew where to go. He should have faced some dangers to reach his mates, but he knew he could do it.'' |
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| ''When he finally reached his old house he at least had a pleasant surprise. Outside the house, there was a statue, and it was a statue of himself. "Finally!" thought Fausto. "Somebody has recognised my genius! They put up a statue of me ... and they never even told me!"'' | | ''Suddenly he had a very risky idea. He could steal the truck. Surely the driver had taken the keys with him, but he knew very well how to get a vehicle started without any keys. He would have been noticed right away, but with an armoured car he would reach his lines in a few hours. He would have been better if nobody had notice him taking the truck. And what would have happened if the truck had been low in fuel?'' |
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| ''Fausto went to have a closer look at the statue. There was some writing at the bottom of the statue. "Fausto Ruiz" it said "Singer". Fausto was disappointed that it said only "singer" and not "the greatest singer in the world", but at least it was a statue. There was some more writing. He looked carefully at it. There was his date of birth, fifty years ago. And then there was something else. It was the date of his death. And the date was two months ago.'' | | ''Sean started to rethink his plans. The forest was only one kilometre away and he could reach it quickly even slithering in the grass of the fields. Once in the forest, it would have been impossible to follow his traces. In less than half a day, he would have reached the new front line.'' |
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| ''by Chris Rose'' | | ''Suddenly he heard the soldiers moving. Where were they going? He heard them going in another building nearby. Luckily, he could understand very well their language. It seemed that they were about to be busy for half an hour. It was time to escape. He gathered all his forces and all his courage and watched the door. He was ready.'' |
Transcription:
Tofārim mostātān
Syllabicated transcription:
To∙fār∙im mo∙stā∙tān
English original text:
A dangerous situation
Sean didn't know what to do. The situation seemed too risky. But he was thinking that he had to do something. He began to move quietly. He didn't want to be noticed. His enemies were talking at a few meters from him, and they seemed enough distracted. He had only a knife and couldn't fight against five people. He could barely imagine what they would have done to him if they caught him. The building had been half destroyed by bombs, but there still were only two ways out, one right in front of his enemies and the other one on the other side. He silently moved towards the other exit, hoping to not draw their attention with any noise.
The room was not big, and he quickly reached the exit. He was about to go out, when he noticed a big armoured truck that was coming towards the building. He quickly hid himself behind a pile of rubble, keeping an eye on the door. The truck stopped just in front of the door, and many enemy soldiers got out. His heart was beating wildly. How many soldiers were getting out of the truck? He could count twelve of them, but they were surely more. He began to feel lost, but, luckily for him, the soldiers didn't get in the building.
The enemy soldiers gathered on the other side of the building and Sean started to plan an escape route. He knew very well the area, this was his land and even if only a few things were as they had been before the war, he knew where to go. He should have faced some dangers to reach his mates, but he knew he could do it.
Suddenly he had a very risky idea. He could steal the truck. Surely the driver had taken the keys with him, but he knew very well how to get a vehicle started without any keys. He would have been noticed right away, but with an armoured car he would reach his lines in a few hours. He would have been better if nobody had notice him taking the truck. And what would have happened if the truck had been low in fuel?
Sean started to rethink his plans. The forest was only one kilometre away and he could reach it quickly even slithering in the grass of the fields. Once in the forest, it would have been impossible to follow his traces. In less than half a day, he would have reached the new front line.
Suddenly he heard the soldiers moving. Where were they going? He heard them going in another building nearby. Luckily, he could understand very well their language. It seemed that they were about to be busy for half an hour. It was time to escape. He gathered all his forces and all his courage and watched the door. He was ready.
