III. MASTER SPLINTER
MASTER SPLINTER
The man who bought my paintings from Mitake was later approached by Esther Wilkins. She is the owner of an art gallery several blocks from Nihon Ya.
ESTHER
I was very intrigued by these two paintings. I had sold several traditional Japanese paintings before, and I could see a similarity in style in Yoshi's paintings. But they were certainly different. They had this dreamy quality that myself, and others, found fascinating.
MITAKE
Esther came to my shop, and asked me if I could introduce her to Yoshi. I was pretty reluctant to do that. I realized Yoshi wasn't in a position where he wanted to meet with much of anyone. However, I also knew that he really did need the money. So I offered to act as his go-between.
ESTHER
That was rather unusual. My original thought was that Mitake actually was Hamato Yoshi. You might think that I'm simply creating a mystery, but you must understand that artists can have very strange temperments. I've had many artists do much stranger things than simply pretend to be someone else. However, I decided to let Mitake handle it his way.
MITAKE
Esther typed up a letter of introduction, and gave it to me to deliver to Yoshi.
MASTER SPLINTER
Ms. Wilkins' letter was very complimentary. She stated that she liked my work, and that she believed that she could sell my paintings, if I so desired. I gave the matter some thought. The idea of selling my art as a regular source of income had never occurred to me. But since no other form of income seemed forthcoming, I decided it was perhaps an opportunity that should not be turned down.
ESTHER
Mitake returned with a letter agreeing to allow me to sell his works, for a standard commission. The letter asked that all payments should be made out to Mitake, and Mitake would pay Yoshi directly. (smiling) This of course made me think I'd been right. As far as I was concerned, Mitake was Hamato Yoshi. It seemed like a very complicated way of handling business - after all, if he had simply taken me into his confidence, I certainly wouldn't tell anyone. However, I decided it didn't really matter - as long I got paintings that I could sell, right?
MASTER SPLINTER
I took a long time with my first painting for Ms Wilkins. This was partially due to my desire to make it as good as possible, but in addition, I was also rather distracted at the time. My four charges had passed through their developmental years fairly rapidly, which at first alarmed me. However, in retrospect, it proved a relief. I did not have to deal with what would've amounted to four infants or toddlers for very long. They learned to speak extremely fast, and it wasn't long before they could take care of themselves with a minimum of help from me. While that meant I didn't need to parent them much, it still was very distracting. (smiling) To be honest, I wondered if they were going to continue growing old at an alarming rate, and would die of old age before the year was up. Fortunately, that was not the case.
MICHELANGELO
While Splinter painted, we'd play next to him. We didn't exactly have much in the way of toys, but then again, we kind of zoomed through childhood. It's like our bodies were already teenaged, and our brains were working overtime to catch up.
DONATELLO
We amused ourselves fairly easily in those early years. We still do, come to think of it. Back then, we practiced our writing, or played handball or something. I remember Michelangelo was the expert at Chinese jacks.
RAPHAEL
Splinter taught us rule one - he was in charge. What he said, went. I don't think any of us really felt the need to try to question that. Rule two was never bug him while he's painting, unless it's really important.
MASTER SPLINTER
I had my easel and cushion set up next to the table where they sat and read and played, so I would be able to parent them, if need be.
MICHELANGELO
To date, my most embarassing moment. I had just figured something out - I think I had finally mastered putting my belt on. You know, something earth-shattering like that. Well, you know how excited a young kid can get when he figures anything out. I ran up to Splinter to show him, bumped into him, and ruined his painting.
MASTER SPLINTER
Michelangelo often states that he "ruined" a painting of mine while in a state of excitement. This is somewhat of an exaggeration. I did have to repaint a small corner, but it was fixed without too much problem.
MICHELANGELO
We all gave him sort of wide berth after that whenever he was painting. Me especially.
ESTHER
The paintings did quite well, especially for a then-unknown artist. Most artists fall into one of two categories - traditional, in one way or another, or experimental. Yoshi's art falls precisely in that small overlap between the two. People who would only buy something very traditional would find them intriguing, and those who wanted something more "out there" liked them, too. And it helped that once some of the "right people" began buying them, other people wanted them, too. Some of the paintings sold immediately, some took months, but it was very steady as these things go.
MITAKE
A couple years after the first paintings sold, Esther showed up at my shop. She told me, "I'd like to stage an exhibition of your work." That confused me. I said, "What work?"
ESTHER
The way he said that, for the first time, I wondered if he wasn't on the level - maybe there was a Yoshi. So I corrected myself and told him, "I meant an exhibition of Yoshi's work."
MASTER SPLINTER
When Mitake relayed this message onto me, I considered it for some time. I was not confident that I finish enough paintings for an exhibition in a short period of time. After all, I only paint when I have an idea of what should appear on the canvas. The few times I've tried to force an idea to come, the results have not...I have not been pleased with them. And although I was in the middle of a piece, I didn't know if another one would be forthcoming directly afterwards. So I wrote to Ms Wilkins, and offered to contact her when I felt I might have enough.
ESTHER
That sounded fair - it wasn't anything I hadn't heard before. Many artists will say something to that effect. Then they rush home, blow through ten substandard paintings, and call me five days later saying they're raring to go. But I didn't hear from Yoshi or from Mitake for several weeks, and since I had other artists I was dealing with, I sort of filed it away in my brain and forgot about it.
MASTER SPLINTER
I think it was about nine or ten weeks later that I felt I had a sufficient number of pieces to discuss an exhibition. Three of the paintings I felt were... well, I was not entirely pleased at their final form. However, I thought I'd show them to Esther in case she didn't agree. (smiling slightly) They say an artist is the worst judge of his own work, and while that is perhaps an exaggeration, there is an element of truth as well.
MITAKE
I offered to take his paintings down to the gallery, like I always had, but Yoshi felt that he couldn't hide away forever. He had an exhibition coming up, after all.
MASTER SPLINTER
I realized that the time had come to emerge from the womb. We could not stay hidden away forever. I knew I had to go topside - that was our term for going up onto the streets, interacting with the humans - to meet with Ms Wilkins. So, one Wednesday, I put on my best kimono, went topside, and walked to her gallery. I asked the man inside if I could speak with Ms Wilkins. (smiling) I was not too surprised with the look I received. He told me that she was too busy to speak with me. It was a fairly long walk to the gallery. When I mutated, something happened to my left ankle, and ever since, it has never quite healed. I do best with it bound up, and I can manage fairly well with a walking stick, but of course, I did not wish to make a return trip to the gallery if I did not have to. So, I told the man that I would wait for her to be free. I sat on the bench near the entrance, and waited for her.
ESTHER
Often, painters will come into the gallery asking for the owner, and then try to insist on getting their work sold. My assistant obviously mistook Yoshi for one of these "walk-ins". He shouldn't have - well, he should've at least asked his name, and then told me he was here. As it was, I was in the back doing the books for a couple hours before I came out. And there was this...rat! Sitting on the bench, eyes closed. I asked my assistant what that was. (laughing) I honestly thought it was some sort of art piece, not a living creature! He said, "He came in and asked for you." I walked over and sort of said, "Excuse me? Can I help you?" He opened his eyes, which sort of startled me. Then he spoke, which startled me again! "Esther Wilkins?" He sort of bowed, in that way of his, and said, "I am happy to meet you at last. My name is Hamato Yoshi." And I just stared at him for a second. All the pieces were falling into place - there was a Hamato Yoshi! And this is why he never showed himself! I felt horrible thinking he had to sit out there for hours waiting for me, but he really didn't seem to mind.
MASTER SPLINTER
Ms Wilkins took me into her office, and we discussed plans for the exhibition. I told her I was still very nervous appearing in public in my mutated state, so I would prefer to have a short, one-time exhibition. She was extremely accomodating.
ESTHER
He explained how uncomfortable he might be in large groups, and I of course understood. We decided to keep his interaction with the potential buyers to a mininum. Honestly, I was thinking it might add a touch of mystery to the proceedings. We worked out all the details, set up the exhibition for several weeks later, and signed a new contract.
MITAKE
Part of this new contract stated that I got five percent of Yoshi's take. That was less than I had got before, but I certainly couldn't complain. Now I wasn't doing anything for Yoshi. I wasn't even acting as an intermediary. I just get a check once in awhile. I've tried to get Yoshi to take that clause out, but he insists on it.
MICHELANGELO
Naturally, we all wanted to go to Splinter's first exhibition, but Splinter said forget it.
LEONARDO
He said he wasn't sure how the public would react to one mutant, let alone five. So we were going to have to stay home on this one. That made sense, but we weren't really happy about it.
DONATELLO
Looking back, there was probably another reason not to let us go. We were pretty immature. It had been less than a year since the mutation, and although Splinter had us talking and being fairly polite, all of our social interaction had been with Splinter, with a few talks with Mitake here and there. We probably woulda freaked at the exhibition. Good call, Sensei.
MICHELANGELO
I did get to make some food for the exhibition - first time my munchies were consumed by humans.
ESTHER
For the most part, the exhibition went well. Several of the paintings were sold, and despite Yoshi's...looks, he got along fairly well with everyone.
MASTER SPLINTER
I talked to several people at the exhibition, usually with Ms Wilkins at my side. Most were quite polite. I cannot be certain, but I believe that most of the patrons thought that my appearance was simply an artistic whim. One woman asked me, rather hestitantly, "Why on earth would you choose to...present yourself this way?" I simply told her that, currently, this reflected who I really was. She probably thought I was being willfully obscure. (laughing) Which I suppose I was.
ESTHER
There was some sort of problem at the close of the exhibition. Someone - a man who obviously is no longer welcome at my gallery - made a rather uncomplimentary comment to Yoshi. I didn't hear exactly what it was, but judging by his tone, it certainly wasn't very nice. I was walking over to intervene when the guy just sort of gave Yoshi a shove.
MASTER SPLINTER
I had noticed this man before. I had felt him staring at me in a rather unfriendly manner, and it had put me on the defensive. At the end of the exhibition, he walked up to me and said something...impolite. I was not taken unawares, and I was not worried about losing an altercation. But I did not wish to cause too much damage, or attract too much attention.
ESTHER
I didn't even see it, it happened so fast. One second Yoshi looked to be collapsing on the ground, but the next, he was standing up, his cane in both his hands, and this guy was on the ground.
MASTER SPLINTER
I executed the Heron maneuver, which put me back in a standing position, but which in turn brought him down. I then decided to beat a hasty retreat. I apologized to the man, but let others help him to his feet while I talked briefly with Ms Wilkins. I told her it might be prudent for me to exit at this point, and she agreed.
ESTHER
I understood then what Yoshi was up against - many people judge him on his appearance above all else. I quickly calmed the crowd down, said that Yoshi would have to leave, and moved their attention elsewhere. I've held several more exhibitions of his work since then, but until recently, he either made a brief appearance at each one, or none at all.
MITAKE
At all the exhibitions after the first one, I took the role of the "artist's spokesman". Yoshi filled me in on some of the backgrounds of all the pieces, and I show up in my best kimono and answer as many questions as I can. I never claim to be Yoshi, although most people seem to assume I am.
MASTER SPLINTER
I suppose I should have taken heart that I had so few problems - that so many people seemed to enjoy my work, and had even enjoyed talking to me. Instead, my mind dwelled on the altercation I did have. I felt that that one encounter justified all my wariness. It was some time before I allowed either myself or my sons to appear in public. And then, when we were locked in battle with the Foot, I felt it prudent to not link myself to others, lest I put them in danger. Thus I rarely made appearances at my own exhibitions.
MICHELANGELO
Splinter's always playing it modest. He says he wasn't really cut out to be a teacher or a parent. But, if you don't mind me sayin' so, I think he did a killer job with us.
MASTER SPLINTER
It had been my wish to be a teacher, but I had never dreamed of becoming a parent. It probably was beneficial that I never actually, all at once, believed I was a parent. I simply felt I had to take care of these creatures, and then, much later, I realized I was now a parent. It was a role that I grew surprisingly comfortable in. I credit my sons - the joy they have given has far outweighed any burden.
RAPHAEL
You know what irks me? Politicians and talk show hosts and all them, saying the only real family is the father and the mother. Look, some of us didn't have a choice, y'know? My mother and father were turtles. And not like us, either - more like the swimming-in-the-ocean variety. What kind of job could they have done bringing us up? Luckily, we had Splinter. And he did better than any foster family could've done.
DONATELLO
If you think about it, we were sort of a recipe for disaster. Four kids, one parent, all mutants, homeless? If you read that set-up, you'd probably guess nothing but ODs and gang activity in our future. But Splinter guided us straight, and I think he deserves all the credit for that.
LEONARDO
Splinter...we can never repay him the debt we owe. I am most grateful...well, firstly, for the gift of cognizent life. But secondly, I'm most grateful that we chanced to be raised by such a man as he. I don't even think I can explain fortunate we have been.
MASTER SPLINTER
The man who bought my paintings from Mitake was later approached by Esther Wilkins. She is the owner of an art gallery several blocks from Nihon Ya.
ESTHER
I was very intrigued by these two paintings. I had sold several traditional Japanese paintings before, and I could see a similarity in style in Yoshi's paintings. But they were certainly different. They had this dreamy quality that myself, and others, found fascinating.
MITAKE
Esther came to my shop, and asked me if I could introduce her to Yoshi. I was pretty reluctant to do that. I realized Yoshi wasn't in a position where he wanted to meet with much of anyone. However, I also knew that he really did need the money. So I offered to act as his go-between.
ESTHER
That was rather unusual. My original thought was that Mitake actually was Hamato Yoshi. You might think that I'm simply creating a mystery, but you must understand that artists can have very strange temperments. I've had many artists do much stranger things than simply pretend to be someone else. However, I decided to let Mitake handle it his way.
MITAKE
Esther typed up a letter of introduction, and gave it to me to deliver to Yoshi.
MASTER SPLINTER
Ms. Wilkins' letter was very complimentary. She stated that she liked my work, and that she believed that she could sell my paintings, if I so desired. I gave the matter some thought. The idea of selling my art as a regular source of income had never occurred to me. But since no other form of income seemed forthcoming, I decided it was perhaps an opportunity that should not be turned down.
ESTHER
Mitake returned with a letter agreeing to allow me to sell his works, for a standard commission. The letter asked that all payments should be made out to Mitake, and Mitake would pay Yoshi directly. (smiling) This of course made me think I'd been right. As far as I was concerned, Mitake was Hamato Yoshi. It seemed like a very complicated way of handling business - after all, if he had simply taken me into his confidence, I certainly wouldn't tell anyone. However, I decided it didn't really matter - as long I got paintings that I could sell, right?
MASTER SPLINTER
I took a long time with my first painting for Ms Wilkins. This was partially due to my desire to make it as good as possible, but in addition, I was also rather distracted at the time. My four charges had passed through their developmental years fairly rapidly, which at first alarmed me. However, in retrospect, it proved a relief. I did not have to deal with what would've amounted to four infants or toddlers for very long. They learned to speak extremely fast, and it wasn't long before they could take care of themselves with a minimum of help from me. While that meant I didn't need to parent them much, it still was very distracting. (smiling) To be honest, I wondered if they were going to continue growing old at an alarming rate, and would die of old age before the year was up. Fortunately, that was not the case.
MICHELANGELO
While Splinter painted, we'd play next to him. We didn't exactly have much in the way of toys, but then again, we kind of zoomed through childhood. It's like our bodies were already teenaged, and our brains were working overtime to catch up.
DONATELLO
We amused ourselves fairly easily in those early years. We still do, come to think of it. Back then, we practiced our writing, or played handball or something. I remember Michelangelo was the expert at Chinese jacks.
RAPHAEL
Splinter taught us rule one - he was in charge. What he said, went. I don't think any of us really felt the need to try to question that. Rule two was never bug him while he's painting, unless it's really important.
MASTER SPLINTER
I had my easel and cushion set up next to the table where they sat and read and played, so I would be able to parent them, if need be.
MICHELANGELO
To date, my most embarassing moment. I had just figured something out - I think I had finally mastered putting my belt on. You know, something earth-shattering like that. Well, you know how excited a young kid can get when he figures anything out. I ran up to Splinter to show him, bumped into him, and ruined his painting.
MASTER SPLINTER
Michelangelo often states that he "ruined" a painting of mine while in a state of excitement. This is somewhat of an exaggeration. I did have to repaint a small corner, but it was fixed without too much problem.
MICHELANGELO
We all gave him sort of wide berth after that whenever he was painting. Me especially.
ESTHER
The paintings did quite well, especially for a then-unknown artist. Most artists fall into one of two categories - traditional, in one way or another, or experimental. Yoshi's art falls precisely in that small overlap between the two. People who would only buy something very traditional would find them intriguing, and those who wanted something more "out there" liked them, too. And it helped that once some of the "right people" began buying them, other people wanted them, too. Some of the paintings sold immediately, some took months, but it was very steady as these things go.
MITAKE
A couple years after the first paintings sold, Esther showed up at my shop. She told me, "I'd like to stage an exhibition of your work." That confused me. I said, "What work?"
ESTHER
The way he said that, for the first time, I wondered if he wasn't on the level - maybe there was a Yoshi. So I corrected myself and told him, "I meant an exhibition of Yoshi's work."
MASTER SPLINTER
When Mitake relayed this message onto me, I considered it for some time. I was not confident that I finish enough paintings for an exhibition in a short period of time. After all, I only paint when I have an idea of what should appear on the canvas. The few times I've tried to force an idea to come, the results have not...I have not been pleased with them. And although I was in the middle of a piece, I didn't know if another one would be forthcoming directly afterwards. So I wrote to Ms Wilkins, and offered to contact her when I felt I might have enough.
ESTHER
That sounded fair - it wasn't anything I hadn't heard before. Many artists will say something to that effect. Then they rush home, blow through ten substandard paintings, and call me five days later saying they're raring to go. But I didn't hear from Yoshi or from Mitake for several weeks, and since I had other artists I was dealing with, I sort of filed it away in my brain and forgot about it.
MASTER SPLINTER
I think it was about nine or ten weeks later that I felt I had a sufficient number of pieces to discuss an exhibition. Three of the paintings I felt were... well, I was not entirely pleased at their final form. However, I thought I'd show them to Esther in case she didn't agree. (smiling slightly) They say an artist is the worst judge of his own work, and while that is perhaps an exaggeration, there is an element of truth as well.
MITAKE
I offered to take his paintings down to the gallery, like I always had, but Yoshi felt that he couldn't hide away forever. He had an exhibition coming up, after all.
MASTER SPLINTER
I realized that the time had come to emerge from the womb. We could not stay hidden away forever. I knew I had to go topside - that was our term for going up onto the streets, interacting with the humans - to meet with Ms Wilkins. So, one Wednesday, I put on my best kimono, went topside, and walked to her gallery. I asked the man inside if I could speak with Ms Wilkins. (smiling) I was not too surprised with the look I received. He told me that she was too busy to speak with me. It was a fairly long walk to the gallery. When I mutated, something happened to my left ankle, and ever since, it has never quite healed. I do best with it bound up, and I can manage fairly well with a walking stick, but of course, I did not wish to make a return trip to the gallery if I did not have to. So, I told the man that I would wait for her to be free. I sat on the bench near the entrance, and waited for her.
ESTHER
Often, painters will come into the gallery asking for the owner, and then try to insist on getting their work sold. My assistant obviously mistook Yoshi for one of these "walk-ins". He shouldn't have - well, he should've at least asked his name, and then told me he was here. As it was, I was in the back doing the books for a couple hours before I came out. And there was this...rat! Sitting on the bench, eyes closed. I asked my assistant what that was. (laughing) I honestly thought it was some sort of art piece, not a living creature! He said, "He came in and asked for you." I walked over and sort of said, "Excuse me? Can I help you?" He opened his eyes, which sort of startled me. Then he spoke, which startled me again! "Esther Wilkins?" He sort of bowed, in that way of his, and said, "I am happy to meet you at last. My name is Hamato Yoshi." And I just stared at him for a second. All the pieces were falling into place - there was a Hamato Yoshi! And this is why he never showed himself! I felt horrible thinking he had to sit out there for hours waiting for me, but he really didn't seem to mind.
MASTER SPLINTER
Ms Wilkins took me into her office, and we discussed plans for the exhibition. I told her I was still very nervous appearing in public in my mutated state, so I would prefer to have a short, one-time exhibition. She was extremely accomodating.
ESTHER
He explained how uncomfortable he might be in large groups, and I of course understood. We decided to keep his interaction with the potential buyers to a mininum. Honestly, I was thinking it might add a touch of mystery to the proceedings. We worked out all the details, set up the exhibition for several weeks later, and signed a new contract.
MITAKE
Part of this new contract stated that I got five percent of Yoshi's take. That was less than I had got before, but I certainly couldn't complain. Now I wasn't doing anything for Yoshi. I wasn't even acting as an intermediary. I just get a check once in awhile. I've tried to get Yoshi to take that clause out, but he insists on it.
MICHELANGELO
Naturally, we all wanted to go to Splinter's first exhibition, but Splinter said forget it.
LEONARDO
He said he wasn't sure how the public would react to one mutant, let alone five. So we were going to have to stay home on this one. That made sense, but we weren't really happy about it.
DONATELLO
Looking back, there was probably another reason not to let us go. We were pretty immature. It had been less than a year since the mutation, and although Splinter had us talking and being fairly polite, all of our social interaction had been with Splinter, with a few talks with Mitake here and there. We probably woulda freaked at the exhibition. Good call, Sensei.
MICHELANGELO
I did get to make some food for the exhibition - first time my munchies were consumed by humans.
ESTHER
For the most part, the exhibition went well. Several of the paintings were sold, and despite Yoshi's...looks, he got along fairly well with everyone.
MASTER SPLINTER
I talked to several people at the exhibition, usually with Ms Wilkins at my side. Most were quite polite. I cannot be certain, but I believe that most of the patrons thought that my appearance was simply an artistic whim. One woman asked me, rather hestitantly, "Why on earth would you choose to...present yourself this way?" I simply told her that, currently, this reflected who I really was. She probably thought I was being willfully obscure. (laughing) Which I suppose I was.
ESTHER
There was some sort of problem at the close of the exhibition. Someone - a man who obviously is no longer welcome at my gallery - made a rather uncomplimentary comment to Yoshi. I didn't hear exactly what it was, but judging by his tone, it certainly wasn't very nice. I was walking over to intervene when the guy just sort of gave Yoshi a shove.
MASTER SPLINTER
I had noticed this man before. I had felt him staring at me in a rather unfriendly manner, and it had put me on the defensive. At the end of the exhibition, he walked up to me and said something...impolite. I was not taken unawares, and I was not worried about losing an altercation. But I did not wish to cause too much damage, or attract too much attention.
ESTHER
I didn't even see it, it happened so fast. One second Yoshi looked to be collapsing on the ground, but the next, he was standing up, his cane in both his hands, and this guy was on the ground.
MASTER SPLINTER
I executed the Heron maneuver, which put me back in a standing position, but which in turn brought him down. I then decided to beat a hasty retreat. I apologized to the man, but let others help him to his feet while I talked briefly with Ms Wilkins. I told her it might be prudent for me to exit at this point, and she agreed.
ESTHER
I understood then what Yoshi was up against - many people judge him on his appearance above all else. I quickly calmed the crowd down, said that Yoshi would have to leave, and moved their attention elsewhere. I've held several more exhibitions of his work since then, but until recently, he either made a brief appearance at each one, or none at all.
MITAKE
At all the exhibitions after the first one, I took the role of the "artist's spokesman". Yoshi filled me in on some of the backgrounds of all the pieces, and I show up in my best kimono and answer as many questions as I can. I never claim to be Yoshi, although most people seem to assume I am.
MASTER SPLINTER
I suppose I should have taken heart that I had so few problems - that so many people seemed to enjoy my work, and had even enjoyed talking to me. Instead, my mind dwelled on the altercation I did have. I felt that that one encounter justified all my wariness. It was some time before I allowed either myself or my sons to appear in public. And then, when we were locked in battle with the Foot, I felt it prudent to not link myself to others, lest I put them in danger. Thus I rarely made appearances at my own exhibitions.
MICHELANGELO
Splinter's always playing it modest. He says he wasn't really cut out to be a teacher or a parent. But, if you don't mind me sayin' so, I think he did a killer job with us.
MASTER SPLINTER
It had been my wish to be a teacher, but I had never dreamed of becoming a parent. It probably was beneficial that I never actually, all at once, believed I was a parent. I simply felt I had to take care of these creatures, and then, much later, I realized I was now a parent. It was a role that I grew surprisingly comfortable in. I credit my sons - the joy they have given has far outweighed any burden.
RAPHAEL
You know what irks me? Politicians and talk show hosts and all them, saying the only real family is the father and the mother. Look, some of us didn't have a choice, y'know? My mother and father were turtles. And not like us, either - more like the swimming-in-the-ocean variety. What kind of job could they have done bringing us up? Luckily, we had Splinter. And he did better than any foster family could've done.
DONATELLO
If you think about it, we were sort of a recipe for disaster. Four kids, one parent, all mutants, homeless? If you read that set-up, you'd probably guess nothing but ODs and gang activity in our future. But Splinter guided us straight, and I think he deserves all the credit for that.
LEONARDO
Splinter...we can never repay him the debt we owe. I am most grateful...well, firstly, for the gift of cognizent life. But secondly, I'm most grateful that we chanced to be raised by such a man as he. I don't even think I can explain fortunate we have been.